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About Google Book Search Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web at |http: //books .google .com/I STANFORD UNIVERSITY LIBRARIES 1 4 i I BUREAU OF AMERICAN ETHNOUOOr BULLETIN 53 PLATE 1 BHITESOHTAV TV8TIIDTI0H BUREAU OF AMERICAN ETHNOLOGY BULLETIir 63 CHIPPEWA MUSIC -II FRANCES DENSMORE I.I f / '■ ' i LETTER OF TRANSMITTAL Smithsonian institution, Bureau of American Ethnology, Washington, D. C, April 29, 1912, Sir: I have the honor to submit herewith a memoir bearing the title '^ Chippewa Music — II," by Miss Frances Densmore, and to recommend its publication as Bulletin 53 of the Bureau of American Ethnology. This paper embodies the results of the author's final studies of the music of the Chippewa, or Ojibwa, Indians, and supple- ments the material published as Bulletin 45. This latter publication has met with high favor among students of primitive music through- out the world, and some of the material contained therein has been adapted and presented by orchestras. Yours, very respectfully, • ' F. W. Hodge, Ethnologist in Charge, Hon. Charles D. Walcott, Secretary of the Smithsonian Institution. ni FOREWORD Chippewa music in its relation to tribal life constitutes one of the subjects dealt with in the present volume, as well as in the writer's first contribution to this study.^ Not less important is the melodic and rhythmic analysis of the songs, which was begun in the first work and is developed more extensively in the following pages. The native religion of the Chippewa also was considered in Bulletin 45. War forms the keynote of the present memoir, together with the Drum-presentation Ceremony, which is said to have united the Chip- pewa and the Sioux in permanent peace. In both volumes there are songs of tribal games and dances, and songs '^composed in dreams," many of which are the individual songs of forgotten warriors. The analysis of the Chippewa words and part of the translation are the work of Rev. C. H. Beaulieu, a member of the tribe, and of Rev. J. A. Gilfillan, who for twenty-five years lived on the White Earth Reservation, in Minnesota. Grateful acknowledgment is made also to Mrs. Mary Warren English, of White Earth, and to other native interpreters, whose interest and cooperation have contributed materially to the success of the work. 1 Chippewa Music, BuUetin 45, Bur. Amer. Mhn. CONTENTS Page List of songs 1. Arranged in order of serial numbers xi 2. Arranged in order of catalogue numbers xvi Special signs employed in transcriptions of songs xix Names of singers xxi Analysis of Chippewa music 1 What do the Chippewa sing? 2 How do the Chippewa sing? 13 Why do the Chippewa oing? 15 Tabulated analysis of 340 songs 18 Melodic analysis 18 Table 1. Tonality 18 Table 2. First note of song — its relation to keynote 18 Table 3. Last note of song — its relation to keynote 19 Table 4. Last note of song — its relation to compass of song 20 Table 5. Number of tones comprising compass of song 21 Table 6. Tone material 21 Table 7. Accidentals 23 Table 8. Structure 24 Table 9. First progression — downward and upward 24 Table 10. Total number of progressions — downward and upward . 24 Table 11. Intervals in downward progression 25 Table 12. Intervals in upward progression 25 Table 13. Average number of semitones in each interval 26 Table 14. Key 26 Rhythmic analysis 28 Table 15. Part of measure on which song b^^ 28 Table 16. Rhythm of first measure 28 Table 17. Change of time 29 Tablel8. Rhythmofdrum 29 Table 19. Rhythmic unit of song 30 Table 20. Metric unit of voice 30 Table 21 . Metric unit of drum 32 Table 22. Comparison of metric unit of voice and drum 33 Group analysis of 340 songs 34 Grand Medicine songs (Mlde^ na^'gCUnowI^'niifi) 34 Dream songs (Ina^'biindjlgan'' na^g{lmowI''n--o No. No. ^^^ 1. OdjIbVe'e dream song 392 67 2. OdjibVe's first war song 371 69 3. ** An eagle feather I see*' 346 72 4. Song of a mislaid scalp : 387 73 5. Song of an unsatisfied warrior 391 76 6. War medicine song 384 78 7. Niski^gwdn's dream song 386 79 8. Death song of GaVitayac^ 338 80 9. "On the bank of a stream" 339 81 10. ''At Ca^gobgns' village" 337 82 11. Song of the war messenger 358 87 12. Return of the war messenger 359 88 13. "Ifeelnofear" '/.' 328 89 14. "The man who stayed at home " 388 90 15. Pledge song 360 92 16. Dance of the dog feast 361 93 17. Song of departure 362 94 18. Song of the leader 343 95 19. "I will go to the south" 333 96 20. "Awarbird" 332 97 21. Arrow song 370 98 22. Origin of the bi^jlkiwdck^ 372 99 23. Dancing, song of the Wjikiwdck^ 382 102 24. First song of the mi^nTsino^wack 373 , 103 25. Second song of the ml^nisinoVAck 374 104 26. Third song of the ml^nlsinoVack , 375 105 27. Fourth song of the mT^ntsino^wack 376 106 28. Song of a war charm 369 107 29. Drumsong 341 108 30. Song of a man who rushed toward the enemy 329 109 31. "If I had been a man" 349 111 32. Song of help in the fight 385 112 33. Death song of Namea)in68^ 335 114 34. "The Sioux women gather up their wounded " 336 115 35. "They are playing a game" 342 116 36. Song of the exhausted warrior 367 117 37. Giftsong 389 119 38. Scalp song 366 120 39. The song of De^kam 348 121 40. Song of rejoicing 365 122 XI Xn LIST OF SONGS Serial ' Catalogue j^.^ No. No. ^^^ 41. Victorysong 345 123 42. "A cloud" 330 124 43. **Iamcalled" 331 125 44. Song of the peace pact 352 127 45. Song when offering the peace pipe 390 128 46. CaViino^ga song 354 129 47. CaVdno^'ga song 355 130 48. Song concerning a brave woman % 351 131 49. ''The Sioux woman defends her children" 364 132 50. Song of the captive Sioux woman 334 133 51. War song of OdjIbVe^s childhood 278 138 52. Song before the boys' fight , 279 139 53. Little girls' war song 280 139 Songs op the Drum-peesbntation Ceremony 54. Song of departure * S. 1 149 55. Song of the chief S. 2 150 56. Song of the speaker : S. 3 151 57. Song of the owner of the drum S. 4 151 58. Song of the warriors S. 5 152 59. Song of giving away the drum : S. 6 152 60. Song of restoring the mourners S. 7 154 61. Song of painting the faces S. 8 155 62. Mourners' song S. 9 156 63. **The sound comes pleasingly" 423 158 64. ''The ravens are singing" 424 159 65. War song 425 160 66. "lamsmall"... 432 161 67. Divorce song 428 162 68. Divorce song 429 163 69. Song of the pipe S. 10 169 70. Song of the drum ; S. 11 170 71. Song of the closed door S. 12 172 72. First song of the dog feaat S. 13 173 73. Second song of the dog feast S. 14 174 74. Third song of the dog feast S. 15 175 75. Fourth song of the dog feast S. 16 176 76. Fifth song of the dog feast...... S. 17 176 77. Sixth song of the dog feast S. 18 177 78. Seventh song of the dog feast S. 19 178 79. Warriors' song ! S. 20 178 80. Song of Butterfly. 437 179 Songs op the Lac du Flambeau Reservation War Songs 81. A song of indecision 393 185 82. Song of the sentry 409 186 83. Song concerning GwiVizans 406 187 84. "The Sioux follow me" 407 188 85. "Around the sky" 415 189 iS.= Sioux song. LIST OF SONGS XTQ Serial Catalogue No. No. Page 86. "If he is a warrior" 419 190 87. "Inthesouth" 426 191 88. War song (no words) 411 192 89. War song (no words) 412 192 90. War song (no words) 416 193 91. War song (no words) 417 193 92. War song (no words) 418 194 93. War song (no words) 420 195 Dream Songs 94. Song of the thunderbirds 394 198 95. Song of the deer (a) 398 200 96. Song of the deer (6) 402 200 97. Song of the deer dancing 433 201 98. "My shining horns" 434 202 99. Song of the buffalo : 399 203 Songs concerning a Boy^s Fast 100. Song before a boy goes out to fast 421 204 101. Song after a boy retiuus from fasting 422 205 Game Songs 102. Song of the hand game 395 208 103. Moccasin game song (a) 396 209 104. Moccasin game song (b) 397 210 Love Songs 105. "Go with me" 400 216 106. "Donotweep" 401 217 107. "You desire vainly" 430 218 108. "Heisgone" 431 219 109. "I am thinking of her " 442 220 110. "Weeping for my love " 443 220 111. "Come, let us sing" 444 221 112. Song of an ambitious mother 445 222 113. Lovesong 446 225 Begging Dance Songs 114. Song of the dogs 403 229 115. "Here I come again " : 438 230 116. "Maplesugar" 439 231 117. "My travels" 440 232 118. Song of thanks for food 441 233 Southern Dance Songs 119. (Nowords) 404 234 120. "Invite our sweetheart" 405 235 121. (Nowords) 413 236 122. (No words) 414 236 Songs concerning the Gift of a Pony 123. Song accompanying the gift of a pony 435 238 124. Song of thanks for the gift of a pony 436 239 XIV LIST OF SONGS Moccasin Game Songs Serial Catalogue No. No. Page 125. (Nowords) 410 240 126. (Nowords) 427 241 Song for the Entertainment of Children 127. Lullaby 447 241 Songs op the Chippewa at Waba'^cIng Village, Red Lake .Reservation Dream Songs 128. A song of spring 289 253 129. (Nowords)., 315 255 130. (Nowords) : 321 256 131. (Nowords) 324 257 132. (Nowords) 327 257 133. (Nowords) : 317 258 134. (Nowords) - 320 258 135. (Nowords) 323 259 136. (Nowords) 325 260 137. (Nowords) 326 260 138. "My body lies in the east" 308 261 139. "Sitting with the turtle" 309 262 140. "Carried around the sky" 310 263 141. "The approach of the thunderbirds" 311 264 142. "White-haired raven" 312 265 143. (Nowords) 313 266 144. (Nowords) 319 266 145. "Into the several heavens" 288 267 146. "Two foxes face each other" 290 268 147. "One bird" 291 269 148. "The sky will resound" 296 270 149. "Onewind" 298 271 150. "An overhanging cloud" 299 272 151. "Heaps of clouds"...! 314 272 152. "Around the sky" 318 273 153. "Thethunderbirds" 322 274 Mide^ Songs 154. "The noise of the village" 306 ' 278 155. (Nowords) 304 279 156. "Bekindly" 307 280 Love Songs 157. "I have lost my sweetheart" 300 280 158. "I will not drink" 301 281 159. (Nowords) 302 281 160. (Nowords) 303 282 Moccasin Game Songs 161. (Nowords) 292 282 162. "The sound of his footsteps" 293 283 163. (Nowords) 305 284 LIST OF SONGS XV Dance Songs Serial Catalogue No. No. Page 164. Woman's dance song 295 285 165. "Helfilledaman" 294 285 166. **I carry it away" 316 286 167. "The entire world" 297 287 Songs op White Earth Reservation 168. "Wehavesalt" 268 291 169. "If I were a son-in-law" 269 292 170. "Work steadUy" 270 293 Pipe Dance Songs 171. "CKgima" 408 294 172. "Little plover" ,.. 281 295 173. "Why?" 282 296 Mide^ Songs 174. Mlde^ burial song (a) 283 297 175. Mlde^ burial song (6) 284 298 Moccasin Game Song 176. (Nowords) 285 299 Love Songs 177. "I have found my lover" 286 300 178. "He is going away"..-. 287 301 Songs for the Entertainment of Children ^ 179. Song of the Game of Silence 448 302 180. Song of the crawfish 449 305 1 See also Nos. (serial) 51, 52, 53, 127. XVI LIST OF SONGS 2. Arranged in Order op Catalogue Numbers Cata- logue No. 268 269 270 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 393 294 295 296 297 298 299 300 301 302 303 304 305 306 307 306 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 Name of singer Henry Selkirk. do Maifi'gans Odjib'we ....do ....do ....do ....do Na'waji'bigo'kwe. ....do William Potter... Mrs. Spears ....do A'jide'gijig ....do do ....do ....do ....do ....do .-..do Ki'miwtUi , do ...-do ....do do ....do do do do do do do do do do do .do. .do. Ki'miwfina'nakwad . do Gegwe'djibi'tflfl Description of song AwfUi'akCkmlg^cktiJi' . . do do do do do do do do Unclassified ....do Love song For the Entertainment of children. ....do ....do Pil>e dance song ....do MIde'spng ....do Moccasin game song. . . Love song , ....do Dream song ....do ....do ....do Moccasin game song. . . ....do Dance song Woman's dance song Dream song Dance song Dream song do Love song do do do MIde'song Moccasin game song: . MIde'song do Dream (doctor's) song do do do Title of song ....do do Dream song do Southern dance (ca'- wftno'ga) song Dream song do do do do do do do do " We have salt" "If I were a son-in-law" "Work steadily" War song of Odjib'we's childhood. Song before the boys' fight. Little girls' war song "Little plover" "Why?" MIde' burial song (a) MIde' burial song (b) (No words) " I have found my lover" "He is going away" "Lito the several heavens" A song of spring " Two foxes face each other" "One bird" (No words) "The sound of his footsteps". . . "He killed a man" (No words) " The sky will resound " "The entire world" "One wind" " An overhanging cloud " " I have lost my sweetheart " "IwUlnotdrink" (No words) ....do ....do do " The noise of the village " "Be kindly" "My body lies in the east" " Sitting with the turtle " "Carried around the sky " "The approach of the thunder- birds." " White-haired raven" (No words) " Heaps of clouds" (No words) Serial No. "I carry it away''. (No words) " Around the sky ".. . (No words) do do •' The thunderbirds". (No words) do ^ do 168 169 170 51 52 53 172 173 174 175 176 177 178 145 128 146 147 161 162 165 164 148 167 149 150 157 158 159 160 155 163 154 156 138 139 140 141 142 143 151 129 166 133 152 144 134 130 153 135 131 136 Page 291 292 293 138 139 139 296 296 297 298 299 300 301 267 253 268 269 282 283 2S5 285 270 287 271 272 280 281 281 282 279 284 278 280 261 262 2G3 264 265 266 272 255 286 258 273 266 258 256 274 250 257 260 LIST OF SONGS xvn Cata- logue No. 326 327 328 329 330 331 332 333 334 335 336 337 338 339 341 342 343 345 346 348 349 351 352 354 355 358 359 360 361 362 364 365 366 367 369 370 371 372 373 374 375 376 382 384 385 386 387 388 389 Name of singer Description of song Awtln'aktim'IglckM'. do Odjib'we do -■ .do. .do. .do. .do. .do. .do. .do. .do. .do. :do. .do. .do. .do. .do. .do. .do. .do. .do, .do. .do. .do. .do. .do. .do. .do. .do. .do. do do do ...,.do do do do Na'waji'bigo'kwe. do do do Maifi'gans Niski'gwfln do do Odjib'we do do Dream song do War song... do .do. .do- .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. Title of song (No words) do " I feel no fear" Song of the man who rushed to- ward the enemy. "Acloud" ^.. "I am called" "A war bird" "I will go to the south" Song of the captive Sioux woman. Death song of Name'binfis' "The Sioux women gather up their wounded." " At Ca'gobCns' Ullage " Death song of Ga'witayac' "On the bank of a strecun "...... Drum song " They are playing a game " Song of the leader Victory song "An eagle feather I see " The song of De'kdm "If I had been a man" Song concerning a brave woman. . Song of the peace pact Ca'wQno'ga song (o) Ca'wCino'ga song (6) Song of the war messenger. ...... Return of the war messenger Pledge song Dance of the dog feast Song of departure "The Sioux woman defends her children." Song of rejoicing Scalp song Song of the exhausted warrior Song of a war charm Arrow song Odjib'we's first war song Origin of the bi'jlkiwtick' First song of the ml'nldno'wtUck. . Second song of the ml'nlslno'wtlck Third song of the mi'nislno'wtlck. Fourth song of the ml'nlslno'wt^ck Dancing song of the bi'jlkiwtlck' . . War medicine song Song of help in the fight Niski'gwto's dream song Song of a mislaid scalp " The man who stayed at home". Gift song. Serial No. 137 132 13 30 42 43 20 19 50 33 34 10 8 9 29 35 18 41 3 39 31 48 44 46 47 11 12 15 16 17 49 40 38 36 28 21 2 22 24 25 26 27 23 6 32 7 4 14 37 Page 260 257 89 100 124 125 97 -96 133 114 115 82 80 81 108 116 95 123 72 121 111 131 127 129 130 87 88 92 93 94 132 122 120 117 107 98 09 99 103 104 105 106 102 78 112 79 73 90 119 67996°— Bull. 53—13 — -ii XVIII LIST OF SONGS Cata- logae No. 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 Name of singer OdjIVwe do do MIde'wigi'jIg. E'nlwftb'e... .....do do do do do do .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. do do do do Mec'kawiga'bau . do do do do do do do , do , Description of song .do. .do. .do. .do. War song do do do Dream song do do do do do Love song do Dream song Begging dance song. . . Southern danoe song. . do War song do Pipe dance song War song Moccasin game song. . . War song do Southern danoesong(a) Southemdance song(6) War song do do do do do Dream song .....do Title of song . War song ....do ....do ....do Moccasin game song. . . Divorce song ....do Love song ....do War song Dream song do Song accompanying the gift of a pony. Song of thanks for the gift of a pony. War song Begging dance song. . . ....do Song when offering the i>eaoe pipe. Song of an unsatisfied warrior Odjib'we's dream song A song of indecision Song of the thunderbirds Song of the hand game Moccasin game song (a) Moccasin game song (6) Song of the deer (a) Song of the buffalo " Go with me " " Do not weep" Song of the deer (6) Song of the dogs (No words) i " Invite our sweetheart " Song concerning Gwi'wiz&ns "The Sioux follow me" "O'gima" Song of the sentry (No words) ....do ....do ....do ....do " Around the sky " (No words) ....do ....do "If he is a warrior" (No words) Song before a boy goes out to fast . . Song after a boy returns from fasting. " The sound comes pleasingly ". . . " The ravens are singing" (No words) " In the south " (No words) ....do ....do " You desire vainly " "He is gone" "lamsmtUl" Song of the deer dancing " My shining horns" (No words) Serial No. .do. Song of Butterfly " Here I come again " , "Maple sugar" 45 5 1 81 94 102 103 104 95 99 105 106 96 114 119 120 83 84 171 82 125 88 89 121 122 85 90 91 92 86 93 100 101 63 64 65 87 126 67 68 107 108 66 97 98 123 124 80 115 116 Page 128 76 67 185 198 208 209 210 200 203 216 217 200 229 234 235 187 188 294 186 240 192 192 236 236 189 193 193 194 190 195 204 205 158 150 160 191 241 162 163 218 219 161 201 202 238 239 179 230 231 LIST OP SONGS XIX Cata- logue No. 440 441 442 443 444 445 446 447 448 449 Name of singer Mec^Eawiga'bau . . do do Dji'si&'slno'kwe. . do Mrs. Gauthier O'gabe&'slno'kwe. do John W. Carl Odjib'we Description of song B^;glng dance song . . do Love song do do do do For the entertainment of children. do do Title of song "Mytravels" Song of thanks for food ^. "I am thinking of her" " Weeping for my love" "Come, let us sing" Song of an ambitious mother Love song Lullaby Song of the Game of Silence . Song of the crawfish Serial No.. 117 118 109 110 111 112 113 127 179 180 Page 232 233 220 220 221 222 226 241 302 30fi Sioux Songs op the Drum-presentation Ceremony Cata- logue No. S.l S.2 S.3 S.4 S.5 S.6 S.7 S.8 S.9 S.IO S.ll S.12 S.13 S.14 S.15 S.16 S.17 S.18 S.19 S.20 Name of singer Mec'kawiga'bau. do do do do do .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. Title of song Song of departure , Song of the chief Song of the speaker Song of the owner of the drum Song of the warriors Song of giving away the drum. Song of restoring the mourners Song of painting the faces Mourners' song Song of the pipe Song of the drum Song of the closed door First song of the dog feast Second song of the dog feast. . . Third song of the dog feast Fourth song of the dog feast. . . Fifth song of the dog feast Sixth song of the dog feast Seventh song of the dog feast. . Warriors' song Serial No. 54 55 56 57 58 59 60 61 62 69 70 71 72 73 74 75 76 77 78 79 Page 149 150 151 151 152 152 154 156 156 160 170 172 173 174 175 176 176 177 178 178 Special Signs Used in Transcriptions of Songs I I placed above the music indicates that the tones included within the bracket constitute a rhythmic unit. + placed above a note indicates that the tone is sung slightly less than a semitone higher than the proper pitch. — placed above a note indicates that the tone is sung slightly less than a semitone lower than the proper pitch. placed above a note indicates that the note is prolonged slightly beyond ite proper time. XVI LIST OF SONGS 2. Arranged in Order of Catalogue Numbers Oata- logue No. 268 269 270 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 393 294 295 296 297 298 299 300 301 302 303 304 305 306 307 306 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 Name of singer Henry Selkirk. do Maifi'gans Odjib'we do do .....do do Na'waji'bigo'kwe. do WiUiam Potter... Mrs. Spears do A'jide'gijig do do do do do do do Ki'miwCin do .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. Ki'iniwflna'nakwad . ....do Gegwe'djibi'tflfl Description of song Awto'aktim'IglckM' . do do do do do do '. do do Title of song Unclassified ....do Love song For the Entertainment of children. ....do ....do Pil>e dance song ....do MIde'spng ..-.do Moccasin game song. . . Love song ....do Dream song ....do do ....do Moccasin game song. . . .....do Dance song Woman's dance song. Dream song Dance song Dream song do Love song do do do MIde'song Moccasin game song; . . MIde'song do Dream (doctor's) song. do do do do do Dream song do Southern dance (ca'- w(ino'ga) song Dream song do do do do do do do do "We have salt" " If I were a son-in-law " . "Work steadily" War song of Odjib'we's childhood. Song before the boys' fight Little girls' war song " Little plover " "Why?" MIde' burial song (a) MIde' burial song (b) (No words) " I have found my lover" "He Is going away " " Lito the several heavens" A song of spring " Two foxes face each other " "One bird" (No words) " The sound of his footsteps" " He killed a man " (No words) " The sky will resound " "The entire world" "One wind" " An overhanging cloud " "I have lost my sweetheart". ... "I will not drink" (No words) do do do " The noise of the village " "Be kindly" "My body lies in the east" " Sitting with the turtle " " Carried around the sky " "The approach of the thunder- birds." " White-haired raven" (No words) " Heaps of clouds" (No words) "I carry it away" Serial No. (No words) " Around the sky " . . . (No words) do do " The thunderbirds" . (No words) .....do ^ do 168 169 170 51 52 53 172 173 174 175 176 177 178 145 128 146 147 161 162 165 164 148 167 149 150 157 158 159 160 155 163 154 156 138 139 140 141 142 143 151 129 166 Page 291 292 293 138 139 139 296 296 297 298 299 300 301 267 253 268 269 282 283 285 285 270 287 271 272 280 281 281 282 279 284 278 280 261 262 2G3 264 265 266 272 255 286 133 258 152 273 144 266 134 258 130 256 153 274 135 250 131 257 136 260 LIST OF SONGS xvn Cata- logue No. 326 327 328 329 330 331 332 333 334 335 336 337 338 339 341 342 343 345 346 348 349 351 352 354 355 358 859 360 361 362 364 365 366 367 369 370 371 372 373 374 375 376 382 384 385 386 387 388 889 Name of singer Description of song Awiln'aktoi'Iglclrtlfl'. do Odjib'we do .do. .do. .do. .do. .do. .do. .do. .do. .do. :do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. do do do .....do do do do Na'waji'bigo'kwe. do do do Maifi'gans Nlski'gwtto do do Odjib'we do do Dream song do War song... do .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. .do. Title of song (No words) ....do "I feel no fear" Song of the man who rushed to- ward the enemy. "Acloud" ^. " I am called'' "A war bird" " I will go to the south" Song of the captive Sioux woman Death song of Name'bings' "The Sioux women gather up their wounded." " At Ca'gobCns' ^^llage" Death song of Ga'witayac' " On the bank of a stream" ..... Drum song " They are playing a game" Song of the leader Victory song "An eagle feather I see " The song of De'Wim "If I had been a man " Song concerning a brave woman. Song of the peace pact Ca'wQno'ga song (o) Ca'wttno'ga song (6) Song of the war messenger Return of the war messenger Pledge song Dance of the dog feast Song of departure "The Sioux woman defends her chUdren." Song of rejoicing Scalp song Song of the exhausted warrior Song of a war charm Arrow song Odjib'we's first war song Origin of the bi'jikiwtick' First song of the ml'nldno'wtUck. . Second song of the ml'nlslno'wtlck Third song of the ml'nlsdno'wtlck. Fourth song of the ml'idslno'wt^ck Dancing song of the bi'jlkiwtlck' . . War medicine song Song of help in the fight Niski'gwfin's dream song Song of a mislaid scalp "The man who stayed at home". Gift song Serial No. 137 132 13 30 42 43 20 19 50 33 34 10 8 9 29 35 18 41 3 39 31 48 44 46 47 11 12 15 16 17 49 40 38 36 28 21 2 22 24 25 26 27 23 6 32 7 4 14 37 Page 260 257 89 100 124 125 97 -96 133 114 115 82 80 81 108 116 95 123 72 121 111 131 127 129 130 87 88 92 93 94 132 122 120 117 107 98 09 99 103 104 105 106 102 78 112 .79 73 90 119 67996°— Bull. 53—13 ii CHIPPEWA MUSIC-II By Frances Densmore ANALYSIS OF CHIPPEWA MUSIC Three questions will be considered in the present section, namely: First, What do the Chippewa sing; Second, How do they sing; and. Third, Why do they sing? The material under analysis in Tables 1 to 22 (pp. 18-33) comprises 340 songs, recorded by the phonograph and transcribed in ordinary musical notation with the addition of a few special signs. The songs were collected on the principal Chip- pewa reservations in Minnesota and on the Lac du Flambeau Reser- vation in Wisconsin. All the leading classes of songs in use among the Chippewa are represented: The songs of the Mlde'wlwln (Grand Medicine), dream songs, war songs, and love songs, songs of the moccasin game, songs of the woman's dance, of the begging dance, and of the pipe dance, songs connected with gifts, songs for the enter- tainment of children, and a limited number not classified. This col- lection does not include all the available material, the purpose of the work being to preserve the oldest songs and those connected with tribal history, custom, and ceremony. The songs included in Bulletin 45 of the Bureau of American Ethnology are classified according to geograpliic distribution, those from each reservation being considered as a group and subdivided according to use. In the present work the principal tabulated analysis is made on the basis of the class or use of the song, the material in Bulletin 45 having been rearranged and combined with material collected at later dates. Before entering on the analysis of the songs, it is desirable to show that a Chippewa song has identity. This identity was established by the following tests : First, a song was recorded by the same singer at different times; second, a song was recorded by diBFerent singers on the same reservation; and, third, a song was recorded by different singers on widely separated reservations, only the titles of the songs being given when the duplications were obtained. These tests were repeated at various times and with a number of songs. In every test a comparison of the phonograms showed the identity of the song, though the renditions were not always uniform in eyery respect. The rhythm was repeated more exactly than the melody, the latter 67990°— Bull. 53—13 1 2 BUREAU OF AMERICAN ETHNOLOGY [bull. 63 showing occasionally changes in unimportant progressions or in the number of phrases at the close. In the course of these comparisons it was shown that an old man repeated with accuracy at intervals of several months a song of very irregular rhythm; it was shown also in one instance that a young man modified the rhythm of an old song, making it conform somewhat to the common rhythms of the white race. A number of Chippewa songs, as transcribed, have no words. Some of these songs originally may have had words and in a limited number of the love songs -the words partake so much of the nature of a soliloquy that they can not conveniently be translated and given with the music. The words of most of the Chippewa songs are few in number and suggest rather than express the idea of the song. Only in the love songs and in a few of the Mide' songs are the words continuous. In the latter the words may be altered slightly, provided the idea remains the same (see Bulletin 45, p. 14). A similar change of words in a war song is noted in the analysis of song No. 37 in the present work. A change of words in love songs is described in Bulletin 45 (p. 2). Although the Chippewa say that the words of a song may be changed, it is the experience of the writer that, with the exception of love songs, the words of a song seldom vary in renditions by different singers. The words of Chippewa songs are frequently changed to conform to tha music, syllables being omitted or added, and meaningless syllables introduced between the syllables of a word. The accent of a word is frequently changed in accordance with tile accent of the music, and a word is sometimes accented differently in the several parts of a song. These and other changes are permissible in fitting the words to the note-values of a song. A subordination of words to melody, and use of meaningless words and syllables has been noted by Doctor Myers in his study of primitive music* What do the Chippewa Sing? Some peculiarities of Chippewa music are indicated in 22 tables of analysis (pp. 18-33), 14 of which concern the melody and 8 the rhythm of voice and drum. This section is descriptive of the results of this tabulated analysis. The first broad division of the material is into songs of major and of minor tonality. (Table 1.) The term "key'' can not properly be used in this work, as the complete tone-system implied by that term 1 Charles S. Myers, M. A., M. D., The Ethnological Study of Music (in ArUhropologkal Essays Presented to fiiti'ardfttmtfM Tytor, etc., p. 236): "The words are commonly sacrificed to the tune. . . . We fre- quently find that liberties are taken with words, or that meaDingless words or syllables are introduced into prlmitiye music. Yet another cause of the presence of meaningless words lies in the antiquity of the music. The words become so archaic, or their sense was originally so involved or so symbolical that all meaning gradually disappears as the song is handed down from generation to generation.'' OBNSMOBE] CHIPPEWA MUSIC — ^11 6 is not always present. Key is defined by Webster as " a system or family of tones based on their relation to a keynote/' also as " the total harmonic and melodic relation of such a family of tones/' implying an harmonic as well as a melodic test. In recorded Chip- pewa songs the relation of the tones to a keynote is usually evident, the tone-material of the key being present, and what might be termed the "melodic relation" being satisfactory, but the sequence of tones in many of the songs is such that the "harmonic relation'' is extremely complicated, if, indeed (in some instances), it can be said to exist. Thus most of the songs close with a simple tonic chord, not with tones which can be harmonized by a cadence, and the opening phrases of many major songs are characterized by minor intervals and those of minor songs by major intervak. There are, however, in all the songs, the rudimentary elements of key. The persistence of the third and fifth above the keynote, the correct intonation of the octave, and the frequent occurrence of the tonic triad, may be noted. The term "tonality" is employed therefore in this work, its use seemingly being warranted by the definition in the Standard Diction- ary (1910) : "Tonality, the quality and peculiarity of a tonal system." In determining the keynote of a song a test by the ear seeiius permi^ible and the tonality of the song is determined by the distance of the third and sixth above this keynote. The third occurs in about 97 per cent of the songs under analysis. A song is classified as major in tonality if the third is a major third (two whole tones) above the keynote, and as minor in tonality if the third is a minor third (a whole and a half tone) above the keynote. According to this basis of classi- fication 57 per cent of the songs are major in tonality and 42 per cent minor, while three songs show a change from major to minor or from minor to major by altering the pitch of the third, the keynote remaining the same. These songs are Nos. 189 and 192 in Bulletin 45, and No. 6 of the present work. The sixth occurs in 81 per cent of the songs, and is found to be a minor interval in songs that contain a minor third between the tonic and mediant, and a major interval in songs having a major third between these tones. In contrast with the frequent occurrence of the third and sixth it is foimd that the seventh occurs in only about 9 per cent of the minor songs. In one-third of these the seventh is a semitone below the tonic, as in modem musical usage (No. 79 of Bulletin 45, and Nos. 36, 100, and 119 of the present work), while in the remainder the seventh is a whole tone below the tonic — the interval which occurs in most of the ecclesiastical modes and in scales formed by the addition of two tetrachords (Nos. 19, 126, and 150, Bulletm 45; Nos. 9, 50, 85, 100, 119, and 124 of the present work). Having determined the probable keynote of the song, this keynote is used as a basis for further examination^ noting in Table 2 the relation of 4 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 the initial tone to the keynote. Fifty-four per cent of the songs b^in on the dominant, indicated as the twelfth in songs having a compass of 12 tones, and as the fifth in songs of smaller range. Next in number are the songs beginning on the octave, which comprise 15 per cent of the entire number. Table 3 shows the tones on which the songs end. Sixtynseven per cent end on the tonic, and in 90 per cent (indicated in Table 4) the final tone is the lowest tone occiuring in the melody. From these characteristics it is not surprising to find, in Table 5, that the largest proportion of songs has a compass of 12 tones and that the next smaller group has a range of an octave. Thus it will be seen that the melodic boundary of a majority of Chippewa songs corres- ponds to a f imdamental tone and its principal harmonic upper partial tones, commonly called overtones.* It has been stated already (Bul- letin 45, p. 5) that ^' the phonograph record shows the octave, fifth, and twelfth simg accurately by men who give the other intervals with imcertain pitch,^' and further observation has confirmed this state- ment. Having observed the outlines of the melodies, the tone-material comprised in them may be noted. Table 6 shows that 131 songs, or about 39 per cent of the entire number, contain the tones .of the pentatonic, or five-toned, scales, according to the five varieties of the pentatonic scales described by Helmholtz.^ The tones are the same in all these scales, the difference being in the keynote. The intervals between the tones which comprise the five-toned scales are the same as the intervals between the black keys on the piano. Supposing these tones to constitute the material under consideration, we should have the first five-toned scale according to Helmholtz by using C sharp as the tonic, or keynote; the second five-toned scale by using D sharp; the third by using G sharp; the fourth by using F sharp ; and the fifth by using A sharp. This series contains 88 songs on the fourth five-toned scale, more commonly known as the ''major pentatonic," or ''Scotch scale,'' and 40 songs on the second five-toned scale, more commonly known as the "minor pentatonic," while two songs (Nos. 51, 2) are on the fifth five-toned scale, and one (No. 116) is on the first five-toned scale. As the fourth five- toned scale occurs in the largest number of songs, we seek to know what groups of tones may have led up to it or in what incomplete form it may be found. It is interesting to note that the next smaller group (the major triad and sixth) comprises 12 per cent of the entire number and contains the tones of the fourth five-toned scale lacking the second. These tones are used in two different ways: (1) The 1 * * The ear when its attention has been properly directed to the effect of the vibrations which strike it .... becomes aware of a whole series of higher musical tones, which we will call the harmonic upper partial tOfiM."— Helmholtz, The SauatUms 0/ Tone, translated by Ellis, London, 1885, p. 22. «n)id.,pp.260,261. DENSMOBE] CHIPPEWA MUSIC — ^n 5 sixth is used as a passing tone between the tonic and dominant in descending progression (see No. 1 76) , the tonic chord being emphasized ; (2) the sixth is combined with the tonic triad above it, forming a minor triad and seventh, which changes to the tonic major triad by the descent of the sixth to the dominant, the song closing with the tonic chord (see No. 147). We next observe the tone-material of Chippewa songs in its relation to tiie tones of the diatonic octave and find the seven tones of the diatonic octave in only 6 per cent of the songs. The fifth is present in 338 songs, the only songs in which it does not occur being the two songs (Nos. 61, 62) on the fifth five-toned scale. A similar persist- ence of the fifth is noted by Doctor Baker in his analysis of 31 Indian songs, the fifth being present in 30 of the songs mider his observa- tion.* The relative persistence of the fifth and fourth in the songs of the Murray Islanders has been exhaustively studied by Dr. C. S. Myers, who states:' ''There is good reason to beheve that in Murray Island the use of the fourth preceded that of the fifth, but that with the development of the tonic, the note which is a fifth above it is more often used than that which is a fourth above it.'' The next interval in point of persistence is the third, which occurs in 329 songs, or about 97 per cent of the entire niunber. The character of the songs from which the third is absent is considered in the analysis of song No. 53. A similar frequency of the third was noted by Doctor Baker, who foimd the third in 26 per cent of the 31 songs analyzed by him. The presence of the sixth is noted in 276, or about 81 per cent of the Chippewa songs; that of the second in 210, or about 62 per cent; of the fourth in 136, or about 40 per cent; and of the seventh in only 110, or about 32 per cent of the songs. Doctor Baker noted also the seventh as being found in only 8, or 26 per cent, of the songs under his analysis, this being the interval which occurred with least fre- quency. Thus is noted some similarity between the result of Doctor Baker's analysis of the songs of several Indian tribes and the result of the analysis of Chippewa songs, in which the persistence (or frequency of occurrence) of the tones of the diatonic octave are in the following order: Fifth, third, sixth, second, fourth, seventh. An interesting group of songs is that classified as ^'octave complete except seventh and fourth.'' The omitted tones are the same as those lacking from the fourth five-toned scale, but in this group of songs the third and sixth are minor intervals, making the songs minor in tonality, while in the fourth five-toned scale these intervals are major intervals and the songs therefore major in tonality (see No. 83) . 1 Theodor Baker, fhter die MwUc der nordamerikanUehen Wilden, Leipzig, 1882; "Tabellea der Intervalle and des Tacts/' p. 83. ^InReporU ietionnqire de Physiologie, Richet, Ch., editor, Paris, Tome iv, 1900, p. 74. " Beau compara un bettement de coeur k une mesure k trois temps, dans laquelle le premier temps serait occupy par le premier bruit, le deuxi^me par ledeuzi^me bruit, letroisi^me par le grand silence. . . . D'apr^s Barth et Roger lerh3rthine repr^nte ime sorte de mesure k trois temps, dans laquelle le premier bruit occupe le tiers environ; le peUt silence, k pen prte un sixi^me; le deuxi^me bruit, un sixi^me; et le grand silence, le dernier tiers." * Ibid., p. 75 (signed by Lahousse). "Si. au oontraire, les battements du cceur sont acc^l^r^, le silence diminue et Ton n'a plus qu'une mesure quise rapproche de la mesure k deux temps. . . . C'est surtout quand une Amotion morale, ou violent exercice physique agissent sur le cceur. de I'homme, ou quand il est le si^e de certains ^tats pathologiques." DBNSMOEB] CHIPPEWA MUSIC — ^11 11 whole (see No. 132); third, it is repeated continuously except for a middle section, which contains the words and is in a different rhythm (see No. 1); and, fourth, the repetitions of the rhythmic unit are freely interspersed with measures haying no rhjiihinic interest (see No. 118), There are also five songs in which the rhythmic unit is continuously repeated except at the close of the song (see No. 4). In addition to the use of the rhythmic unit in repetition, there is an equally important use of it as a basis for the rhythm, the unit appearing either in separated phrases or with a change of accent (see No. 90). This change of accent or other modification sometimes produces a second or (in one instance. No. 157) a third rhythmic unit which is repeated several times. Songs numbered 17, 47, 121, and 123 contain two rhythmic units, the second being formed from the first and constituting an answering phrase. A similar structural peculiarity was noted by FiUmore, who states: ^'Having invented his original motive, which is commonly striking in its rhythmic form and highly characteristic, the Indian composer proceeds to build his song out of modified repetitions of this motive." ^ Among the 191 Chippewa songs containing a rhythmic unit there is only one duplication, Nos. 192 and 195 in Bulletin 45 containing the same unit. In the 20 Sioux songs of the Drum-presentation Ceremony the percentage is much larger, as the second rhythmic unit in song No. 73 of the present series is similar to the unit occur- ring in No. 77. There is, however, a division of a count / J J which occurs in Chippewa songs recorded on a reservation showing Sioux influence, and which is found also in Sioux songs. This division of the count occurs in 15 per cent of the songs recorded at Waba'cing (Nos. 131, 153, 157, 159, 161, 163), and is found in only five other songs of the entire collection. The same phrase is found in 10 per cent of the Sioux songs of the Drum-presentation Ceremony (Nos. 54, 62), and also in about 10 per cent of the Sun-dance songs of the Teton Sioux recorded by the writer at Standing Rock, North Dakota, in 1911. The Chippewa at Waba'cXfig are in frequent communication with the Sioux of North Dakota, parties from these tribes visiting each other at their various festivals. The Chippewa at Waba'ciflg are also composing music at the present time to a greater extent than those on other reservations. It is Interesting to note that the correspondence between the music of the Chippewa and the Sioux, which may be attributed to contact of the two tribes, is rhvthmic, not melodic. Further evidence of the rhjlihmic unit as a nucleus of Chippewa song is found in the fact that some songs were repeated in sections, \ John Comfort Fillmore, Primitive Scales and Rhythms, in Memoirs of the International Ctrngrese <^ Anthropology, Chicago, 1804, p. 176. 12 BUREAU OF AMERIOAK ETHNOLOGY [bull. 53 the singer using the phrases in varying order, apparently as his fancy prompted him. This is noted in the analysis of No. 105, and was observed especially in the love songs. No. 100 affords an example of a song the entire rhythm of which constitutes a unit that is com- plete in itself and can not be divided. Such a song would become, in its repetitions, the rhythmic unit of an extended musical performr> ance. Finally, there is observed the speed of voice and drum, as indicated by a Maelzel metronome, the number representing the number of beats per minute. The method of adjusting the phono- graph to secure uniform speed in recording and in playing a song has been already described. Table 20 shows the metric unit of the voice, the indication being usually for the time of a quarter- note, though in some instances a half-note, or even an entire measure- length, was the only unit by which the tone-values could be deter- mined. It will be noted that the largest percentages of speed occur on the numbers 96 to 104 M. M., this group being a somewhat clearer indication of the natural tempo of Chippewa song than the average ■ v«. speed of the entire collection (107 M. M.), as the latter is slightly - affected by songs whose peculiar structure necessitates a very large or a very small unit of measurement. The metric unit is particularly ' slow in songs of controlled excitement (see No. 30). Table 21 shows the metric unit of the drum, the highest percentages being between 104 and 112 and the average speed 109. Both these tests show the speed of the drum to be greater than the speed of the >roice, though a proportion between the two is not evident. The comparative speed of voice and drum is further shown in Table 22, the songs in which the drum is slower than the voice being about half the number of those in which the metric imit is the same, and less than half the number of those in which the 'drum is faster than the voice. The independence of the vocal and instrumental expressions is further shown by the fact that the tempo of the voice may change but the tempo of the drum remains the same, a peculiarity which is noted in the analysis of No. 168. There may be instances in which the metric imits of voice and drum are in the ratio of two to three, but the writer does not recall an instance in Chippewa Inusic in which drum and voice coincided on the first coimt of the measure, one showing two and the other three pulses, or metric imits, during the measure, although this ''.two-against-three rhythm'' has been foimd in the music of other Indian tribes and among many other primitive peoples. Fillmore gives an instance of a Bala Bala (Bellabella) Indian song containing a 2-4 rhythm in the voice and a 5-8 rhythm in the drum, the two coinciding on the first of each measure.^ In Chippewa music, 1 John Comfort Fillmore, Primitive Scales and Rhythms, p. 173. DEN8MOBE] CHIPPEWA MUSIC — II 13 however, the two expressions seem to be entirely distinct. Even when voice and drum have to the ear the same metric unit, the drum slightly precedes, or in some instances follows, the voice. Bulletin 45 (p. 6) contains a description of a phonograph record in which the metric units of voice and drum are so nearly aUke that the same metronome indication was used for each. At the beginning of the record the drumbeat was slightly behind the voice, but it gained gradually until for one or two measures drum and voice were together; the drum continued to gain imtil at the close of the record it was slightly in advance of the voice. An independence of rhythm of voice and drum was noted by Doctor von Hombostel,* and also by Doctor Myers.^ Further consideration is given the rhythm of Chippewa songs in Bulletin 45 (p. 18). How DO THE Chippewa Sing? The manner of Chippewa singing varies with the nature of the song and the skill of the singer. A nasal drawling is always used in the love songs, but in no other songs. This is not a loud tone, and it remotely suggests the call of an animal. The songs of the MWe'wIwto (Grand Medicine) contain meaningless syllables, which are distinctly pronounced and in most instances are given similarly in the various renditions of a song. These syllables are frequently interpolated between parts of a word and sometimes bear resemblance to syllables of the words. In these songs the words are mispronounced more often than in others, being changed to fit the music, which is the essential element of the song (see Bulletin 45, p. 14). In other classes of songs the vocables are throaty sounds, which differentiate the tones but can not be expressed in letters. It is said that '*one must have an Indian throat to sing the songs properly.'* A Chippewa does not move the lips in giving these vocables, but seems to produce them by a contraction of the glottis; the tone lengths are, however, entirely distinct and rarely vary in the repetitions of the song. In addition to these styles of singing, which are imiversal, there is a vibrato, or wavering tone, which is cultivated among the yoimger singers and is considered an evidence of musical skill (see Bulletin 45, p. 4). A similar phase of musical culture was noted by the writer among the Sioux of North Dakota. 1 Erich M. von Hombostel, th>er die Musik der Kuba (au9 dem Phonogramm-nrchiv des paychologischen TfUtUuU der Univeraitdt Berlin, Frankfurt am Main, 1908, phonogramme 15a). * Charles S. Myers, M. A., M. D., The Ethnological Study of Music (in Anthropological Essays Presented to Edward BumeU Tylor, etc.)» P- 237: " Not infrequently the accents or measures in the melody are opposed to those in the accompcmiment.'' P. 238: [In polyphonic music of primitive peoples] "different simul- taneous rhythms are allowed full scope for independent development. . . . Such ' heterophonic' music sorely demands of the native audience the same oscillations of attention as occur in V9 when we listen to two persons talking simultaneously.'' 14 BUREAU OP AMERICAN ETHNOLOGY [bull. 53 Concerning accuracy of intonation according to the piano scale, there is wide variance among singers, as well as in some instances, among the several intervals simg by the same person. The tran- scnptions of these songs should be understood as indicating the tones produced by the singers as nearly as it is possible to indicate them in a notation which is familiar by usage and therefore convenient for observation.* A few additional signs are used and the pecutiajv ities which can not be expressed graphically are noted in the descrip- tive analyses of the songs. Where a variation from the piano scale was marked and was repeated in the several renditions of a song, it is indicated by the sign + or — above the note, showing the tone to have been persistently sung less than a semitone above or below the note transcribed. In five records a faulty intonation at the beginning of a song was corrected in the latter part (see Nos. 54, 129, 133, 146, 164). In the rendition of Indian music the writer finds tones which correspond to intervals of the piano scale and occasionally, in the same song, other tones whose pitch varies so constantly and by such minute gradations that they have no equivalent in that scale. Tones of the former class are capable of transcription in ordinary musical notation; those of the latter can adequately be shown only by a sound-wave chart, but, in the present work, are transcribed by the notes they most nearly approximate in pitch. Minute gradation of tone in Indian song has given rise to the statement that Indians habitually use intervals of eighths or quarter tones. Intervals smaller than a semitone are f amihar to every student of Indian music, but before it can safely be assumed that they form a fixed part of a musical system it should be proved by mechanical tests that they can be accurately repeated. Such proof is believed to be lacking at the present time. It is the opinion of the writer that these minutely graded tones are survivals of a less differentiated vocal expression. In the present analysis of Indian music we observe the tones on which a purely natural vocal expression crystallizes and first coincides with that system of tones which has gradually devel- oped in the musical history of the white race. In the early part of the investigations a few phonograph records were made which were found to be ^ ' musically incoherent, ' ' the tones having no clear relation to one another or to a keynote. On inquiry it was always found that the men who sang these songs were not considered good singers by the members of the tribe. In a repetition of the song by a "good singer" the trend of the melody was the same, and the intervals were such that the melody '*made musical sense,'' con- 1 Helmiioltz, The Sensations of Tone, translated by A. J. Ellis, I^ondon, 1885, pt. 3, p. 260. Translator's footnote: ''All these [scales] are merely the best representatives in European notation of the sensations produced by the scales on European listeners." DBNSMOBB] CHIPPEWA MUSIC — ^11 15 tained a keynote, and could be expressed with reasonable accuracy in musical notation. In recording several hundred songs there have been a few instances in which singers have tried to improvise parts of songs which they could not remember and have even ''made up songs as they went along." These attempts were readily discovered and the records discarded, together with the efforts of those who, like some members of the white race, '' could not carry a tune." Indi- ans distinguish dearly between competent and incompetent singers, and when the purpose of the writer^s work was fully understood they recommended only such of their number as were good singers. The management of the breath by a Chippewa singer is radically different from that of a member of the white race. This is indicated by the fact that rests occur in only 13 (4 per cent) of the songs, about half of these being songa. of the MMe' ceremonies, which are charac- terized by forcible ejaculations. The Chippewa sing almost con- tinuously for several hours at a time, each song being repeated an indefinite number of times. In some instances the measure which connects the song and its repetition is a complete measure and is so indicated in the transcription, but in many others the song is com- pleted as transcribed and the singer at once begins the repetition, disregarding uniformity of measure-lengths. The accents are clearly given and never vary in the repetitions of the song. By these accents the measure-lengths of the transcription are determined. In many instances it was necessary to reduce the speed of the phonograph greatly in order to discern a metric unit or any not€5-value on which a transcription could be based, but when this metric unit was discovered it could easily be traced throughout the song and its repetitions, and could be heard clearly when the original speed of the phonograph was restored. In the writer^s experience the metric unit and the measure-length are practically without variation in the repetitions of Chippewa songs, and the note- values are changed only when words are introduced, or occasionally in the closing phrases of a song, which are often without special interest or importance. The songs are usually accompanied by the drum, though the rattle is frequently used with MXde' songs and the songs connected with the use of medicine. The musical instruments of the Chippewa are described in Bulletin 45 (p. 11), and will be considered also in the group analyses of the songs in the present volume. Why do the Chippewa Sing? Investigation of the origia and use of Chippewa songs leads to the conclusion that most of them are connected, either directly or indirectly, with the idea of reliance on supernatural help. This idea rarely assumes the form of direct address, though one song 16 BUREAU OF AMERICAN ETHNOLOGY LBiix.Ga (No. 156) contaiDs the words ^'Be kiadly, my manido'/' and iii some of the MLde' songs a inanido' (spirit) animal or bird is represented as speaking — "I am a spirit to be able to become visible, I that am a male beaver" (Bulletin 45, No. 34), and "I am about to alight that you may see me" (ibid.. No. 41). It is said that in the old days all the important songs were *' com- posed in dreams," and it is readily understood that the man who sought a dream desired power superior to that he possessed. A song usually came to a man in his " dream" ; he sang this song in the time of danger or necessity in the belief that by so doing he made more potent the supernatural aid vouchsafed to him in the dream. Songs comj)osed, or received, in this manner were used on the warpath, in the practice of medicine,* and in any serious undertaking of life. Thus there are many dream songs among the songs of war, of the AJlde', and of the moccasin game, in addition to the group of dream songs in the classified analysis. An instance of a warrior's success connected with the singing of a dream song is shown in No. 42, and of a warrior's defeat attributed to the failure of supernatural help, in No. 8. In addition to songs connected with dreams and with triumphs gained by supernatural aid, there are love songs, and songs of physical activity (as the social dances) and of the home life (as the songs for the entertainment of children). Almost without exception the love songs are songs of disappointment and longing, though a few love- charm songs are included among those of the Mide' (Bulletin 45, Nos. 71-76). The words of 248 songs are transcribed; one- third of this number contain mention of some manifestation of nature, the immber and l>ercentages of tliis group being as follows: Number Percentage Songs concerning animaLs. 30 36 Songs concerning birds 17 ;^1 Songs concerning the sky 17 ^1 Songs concerning water 11 13 Songs concerning clouds 4 4.5 Songs concerning the wind 4 4-5 Noting the large number of songs containing mention of animals, it is interesting to consider whether animals may have seemed to the Indian better fitted than himself to cope with natural conditions. The animals mentioned in the songs are the otter, beaver, weasel, marten, crawfish, rattlesnake, large bear, fox, deer, and dog; there is also (on a reservation showing Sioux mfluence) one reference to the horse and the buffalo. The birds mentioned are the ci*ow, loon, owl, 1 Compare AleS Hrdlifika. Physiolc^ical and Medical Observations Among the Indians of Southwestern United States and Northern Mexico, Bulletin 34 of the Bureau of American Ethnology, Washington, 1908, pp. 222-227, 243, 244. DBX8MORE] CHIPPEWA MUSIC — II 17 ravea, plover, eagle, ^Hhunderbird,'' and ^'water-birds/' Reference to water occurs principally in songs of the Mfde'wXwin, the emblem of that organization being a shell, and all its traditions being asso- ciated with water and with aquatic animals. A spontaneous outburst of melody, giving expression to either joy or sorrow, does not characterize Chippewa songs; indeed, the nature of the songs is more frequently objective than subjective, more often connected with accomplishment than with self-expression. A comparison between the content and the tonality of the songs may now be undertaken. As we are accustomed to connect a minor key with the idea of sadness, it is interesting to inquire whether the same mode of expressing sadness obtains in Chippewa songs. First, it is observed that, apart from the love songs, there are few songs of sorrow. The series of 340 songs contains 142 in minor tonality, of which only 20 (14 per cent) are songs of sadness, comprising practically all the songs of this character. Among the 85 MIde' songs there are only two songs of sadness (Nos. 174, 175); these are burial songs. Many Wide' songs mention sickness, but always with an affirmation that it will be cured by supernatural means. Six of the 88 war songs contain the idea of distress (Bulletin 45, Nos. 120, 150; present collection, Nos. 10, 17, 34, 36). It will be noted that two of these refer to the grief of the enemy (Nos. 10, 34), and in one a condition of distress is relieved bv the use of medicine; the three which may be considered songs of unlightened sadness are the songs of the departure of warriors (No. 150, Bulletin 45; No. 17 of the present work) and the song of the warrior left to die on the battlefield (Bulletin 45, No. 120). In a similar instance (No. 33) the song of the woimded man left to die is distinctly major in tonafity. Among the 30 love songs 11, or more than 33 per cent, are songs of sadness and minor in tonality. Of the unclassified songs only one contains the idea of distress, with a minor tonaUty — this is the song of the little boy who was afraid of the owl (Bulletin 45, No. 121). Two-thirds of the moccasin game songs are minor in tonaHty; in this connection it may be noted that the result of the moccasin game was always a matter of uncertainty. Most of the Chippewa songs are major in tonaHty, and most of the old songs were ''dream songs'' used in the Mide', the practice of medicine, and the pursuit of war, the essential nature of a "dream" being associated with the idea of reUance on supernatural help. In contrast with the large proportion of major songs, and of dream songs of various classes, it is foimd that a minor tonality is used, practically without exception, in songs directly expressing sadness, distress, or uncertainty. These observations may have a bearing on the further study of the psychology of Indian song. 07990°— Bull. 53—13 2 BUBEAU OF AMERICAN ETHNOLOGY 3 s II ■^ i gg«. ^ ii n sa-'" ^_ t:- r r " IH it gs i. -'-' ■ If It 3p 2 ; la - "r ; " ill it ^ti i i " fit rt ss i -" 1 ■" III li 8 S 1 a . «>- Is 31 III n S^ ^ o i. = « 2 a i It n 5g § ^ & 22 g a » is SS i. 53 S II a 55 i as ^ it r% KS 1 S*i s i 1 J 1 \ E 1 j i \ -s3S"''a2: ^ i fe - ; i ■ '- -z "■ '• 1 i s f = ; = B • S 1 :2 Is 'T > ! 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MUSIC — II - as l^g|i*"3"'-S" i 1 M- 1 S^JSH-* ~ ■" ssas-" " " 1 1 3^S f - ' - a- a="- - - s 1 S'=SS* *■ 5"S-" s 1 B:=SS? == «- "" - * 1 ^*5^^ a-'ss" M SSBS-"' " S2S2 ' " " s 1 S^Sf- " ^ 3_E3 S S S ■= - " " § 1 q.>-«:-E « « " gSSSS'"""- " 3 S S E S •= - - S"SSS='2 6 J. g g « a, -, S SKS s ^ " " s S S !5K - -" SSKK5 = ""--"= ; 1 i 11, }ii 1 1 ; ( 1 i l , 1 M BUREAU OF AMERICAN ETHNOLOGY [bull. 53 •J < > » » ^ Z •-• n o ns -< o H S5 •-• -1^ nr) g » o ^z; o O H c 3 3 M QQ h S b < O 5z; p; < » n 1 H O ^ < p; » > t 1 »-t 9 R wco»eoe«6coc»«c^p9« ill a SSiill^l »o •* «o « ^ eo Oj3 o «H <-< Ct rH 00 II S3S8SS*-'*«*FJ 9 i I £ S3 IM 5) Mi g> g S) 9 S S * « ? « ^ o i4 9 I o *> •«a «o a» 00 »« o 3 ca o o a e O o !9 d o ® d ^8 o & ^ o 55 c« o •5? « d ^8 o Z .1 8 § - . ~ o ilal 3 o I , •5' .9 *■ J, e a c 3 dbnsmobb] CHIPPEWA MUSIC — 11 21 •4O4Ua00*3>«Mt>«'3»3QO)O^aftQ^t>.CK{«-««)0'(dr^eoeor«'^t>-ctaat«coicsoc5cocprHt>-QOMiH 8 s a '^ ^ ;: j:; ©» U3 ec c<« CO 00 3 *♦ . to . ^* . W5 «o 00 «o *^ • to • O) • *-« -to 9 W to »«a »>. »5 O Ol 00 P>J w «o »c N J2 Oi «o ■■o »i w CO 00 »c o 2 '? .S s I a a ^1 a 1 1 § a oa 2 • : : : o -S .5 . : : 'ff a a g I s g a g o a a i a ^ I fl a a o 09 C a t* & o 2 «3 -s a a ii 4^ 08 a 2 S, Ii la g g •5*1 a 1 O n n I H S fe : 1 ; ^ ?l? S i Hi I III « a ss i i 1 "■ i " If a S 2 ; : i --il- m ^1 § M 1 « « : : « fit «i fe :j I « , « ; ^ ill -'1 ..: 1 6 1 - - ; s III ii!'=i \ i :; " ; js It a ": : 4 = s ; s » 1 II i| ~s ; 4 S= : S »? ^i !is i ; r^ S !S ? 1 S !;. s ^ -^ ■. rMnu •s f s SS"* : > : : i : -S-- ; I" M i s s5 : i i ;5 i i «- : j 1 i -* : " 8tes : ■=■--: i ; 1 ! : i - § H i ■* i : i : *• Rs : ^ ■ ■ i "= " ■ ; ; i - ; i >- %8 i i -« ! ■ s i*ii^ i --- ; i ■ : ■ i ■ S 8 !» ; ^ : i " i ; ; s s i - ; i " ; i : s i 9 j5 i -;-;-;; a SS**-" :**:;;: i aa-- i - : ; i : a ^j.^,-- > : -^ ; aa-""- i- i"3 |s lis::! mil ^ ilili 1 -353 " 1 I: K aa? s , »- : S" : s fe:; i -- i " 1 St; ! ">- : - § « « S? : *- 1 - 1 85- i ■=- i S o S i; i a - ; 2 3S : S" ■ S I g 3- ; i&si : s ^■= ; 9 " : T S = 3 1 S i! 1 i 1 i i III 292- a « == 1 » |==: . : Mil MM ^ 1 M 1 j a? :s s ; ; ; ■" ^l\ ^ :-| - ; : ; ^ hf— 1 M 8 : : . 1 ; : ; f ■ : " s M 1 a- s J ; ; ; 1 hHr-l -"^S : 3 " : i i ^ ; S ; : S ^"^1 ; 8- ; illll 1 iiiilt 8 i ; : 1 1 '1 1 I BUKR n 4U OP AMBBIOAN 8 - ; S .: 4 S""§? % i n .S- :3 ; z 1 ' " i*" i 1" 1 m a S ; is ; i "::■=; " i rt a i !s! i 1 - ; > ; •* ill rg s i i*5 i t. « : : - ; ™ fit a ti ; it ; z « i i* i - III a * i i s : III a S : : fe : « ■= : i2 ; 2 II a S >^ : ; S s : "2 i s II it s* is i i § g" ;S i a It ^1 5" ; =s. ; tl a ^ i :~ i ;0 5S i ;-a g Ifill i < e- f- &; g 1 1 1 ■ In iil \ ; : r t|!t III . lit t 111 i 1» ! « : 1 II 1 II ! \\\n il \\"'\ z StS%SS3 DRN8MOBE] CHIPPEWA MUSIC — II 31 «>» •3 •o •^ • "^ • •« •« «D ko «o t* «o «o •3 «o «t *-« •4 •« •3 •^ ' »>< •^ •« •« •* ^ iHM^fHMp^MiH M C« ^i vH c« 1-4 ^ • p4 *N C9 f-4 iH 1 • 00 1-4 tH CO « 1-4 IH 1 1 00 p4 1-4 vH eo CO c« w* rH 1 t^ • w4 w4 T^ CO C4 IH ^^ s tH 1^ ^ CO 9-4 eo M IH »-4 ffH *t « s CO CO C9 C9 ^ C9 w* IH p4 f-4 • M s •-ie>9C«^^e4«oercentage of downward progression in the entire group of songs is the same as in the begging dance songs and larger than in any other group. In the number of descending minor thirds this group is exceeded only by the dream songs, and in the ascending minor thirds by the dream and the war songs. The average interval is the same as in the b^ging dance songs, being 2.9 semitones, the average of the entire series being 3.1 semitones, or a tenth of a semitone more than a minor third. This group is lowest of all in songs beginning on the accented part of the measure, and lower than most groups in songs banning in 2-4 or 3-^4 time. The drum-rhythm of all these songs is a rapid, imaccented beat which occurs in no other group except the war songs. The proportion of songs containing a rhythmic unit is larger in this than in any other group. Table 22 shows the percentage of songs in which the drum is faster than the voice to be larger in this than in any other group except the dream and the moccasin game songs, the former being 1 per cent and the latter 31 per cent greater. Here, then, is a group of songs known to be used as a means for accomplishing a purpose, namely, the securing of a definite effect, usually on a person other than the singer, by supernatural power; and the characteristics of this group are found to resemble the beg- ging dance songs more frequently than they do any other group. A prevailing major tonality is noted, and the feeling for the dominant is more marked than for the tonic ; the songs open with less directness of " attack" than others, but contain a rhythmic unit more frequently than other groups. The expression is freely melodic, downward in trend, and is characterized by the interval of the minor third. A drumbeat faster than the metric unit of the voice is noted in songs of controlled excitement, and 51 per cent of these songs show this peculiarity. This is evident also in the moccasin game songs, and is found in war song No. 30. In the Mide' songs are found peculiarities which may be connected with the motive and the mental state of the singer: (1) The rhythmic unit suggesting a definite, crystalized idea; (2) the major tonality, a confidence in securing the desired end; (3) a preference for the dominant, the unaccented initial tone, and the freely melodic form, all suggesting an indirect approach; and (4) the rapid drumbeat which is, in many instances, associated with controlled excitement. For the rhythmic units of the Mide' songs see pages 309-313. DBNSMOBE] CHIPPEWA MUSIC — ^n 37 DREAM SONGS (iNA'strNDjiOAN^ NA'otrMOWl'NtrN)^ This group comprises Nos. 108-121 of Bulletin 45 and Nos. 94-104 and 128-153 of the present work. The songs in this group are not composed (in the usual sense of the term) but are said to have ''come to the mind of the Indian when he was in a dream/' We can not fully understand this dream or trance of the Indian; we can only accept his statement that by isolation and fasting he was able to induce a certain condition in which ha ''saw a vision '' and "composed a song." In the belief of the Indian fasting is a condition essential to certain classes of musical composition. It is a well-known fact that in a condition of inanition the brain enters on a phase of abnormal activity akin to that produced by narcotic stimulants. The com- position of songs during or immediately following an abnormal mental state has been noted among other Indian tribes. Thus, for instance, Mr. James Mooney states that "persons taking part in the ghost dance voluntarily sought the trance condition, and on emerging from that condition frequently embodied the story of their vision in a song." In some instances the Chippewa stated that they sang" songs heard in their dreams; thus in the description of No. 112, Bulletin 45, the man said that he "sang a song which he heard the trees singing," and in No. 119, in the same bulletin, he "repeated the song which the crows sang." Nos. 94-99 of the present work are supposed to be the "songs" of the thunderbird, the deer, and the buffalo, which the man saw in his dream. Nos. 1, 102, 103, and 104 of the present work are said to have been learned from manido', which appeared in human form to the dreamer. Mention of the manifestations of nature occur in many dream songs; these are considered on page 16. It is noted that 16 per cent of the dream songs relate to flight through the air. The sensation of aviation in dreams, due to some disturbance of the nervous equilibrium, is not an unconunon phe- nomenon. In the circumstances attending both the composition and the use of the dream songs the underlying idea was that of expectancy and acquirement. To the Indian a "vision" was more to be desired than any material thing. Through the vision he was assured of supernatural aid which would enable him to succeed in life, and the song was one of the means by which he summoned that aid in his hour of need. Considering this idea of acquirement, so closely associated with the dream songs, it is not surprising to find them, in analysis, allied to the woman's dance songs and the songs con- 1 The writer gratefully acknowledges the assistance of Dr. Ale§ Hrdlidka, curator of physical anthro- pology, United States National Museum/and of Mr. James Mooney of the Bureau of American Eth- nology, in studying the relation between physiological conditions and musical expression. 38 BUREAU OF AMERICAN ETHNOLOGY [boll. 83 nected with gifts. One of the principal features of the woman's dance is the presenting of gifts, an invitation to dance being accom- panied by a gift. Frequently these gifts are valuable articles, as ponies, rifles, and beaded garments, and the dancers wait with pleas- urable expectancy to know what presents will be bestowed on them. At this dance the writer has often observed the interest with which the Indians watch a man who rises and walks across the dancing circle with an attractive gift in his hand. The feeling is expressed in song No. 177, Bulletin 45, which contains the words, '*I have been waiting a long time for you to come over." There is some similarity between this and the mental state of the man who patiently awaits the coming of a supernatural visitant. The songs connected with gifts are sung at the social dances and are frequently interspersed with woman's dance songs. If the gift is so lai^e as to require special celebration these gift songs are used. Some of them accompany the giving and some the receiving of the gift, but all concern an actual event and have not the element of expectancy associated with many of the woman's dance songs. Among the dream songs the proportion in major tonality is 4 per cent larger than in any other group, comprising 76 per cent, the songs of the MXde' and of the begging dance each showing 72 per cent. This group is largest also in songs beginning on the twelfth, the group of love songs ranking next in this respect. The MIde', however, contains the highest percentage of songs beginning on the dominant, comprising a lai^e number of songs beginning on that interval but having a compass of less than 12 tones. The number of dream songs beginning on the octave is 1 per cent greater than in the Mlde' but less than half the proportion shown by the war songs. Further resemblance to the MXde' is shown in the ending of the songs, 63 per cent ending on the tonic, as in the Mlde', though seven other groups show a larger percentage. Thirty-seven per cent of the songs have a compass of 12 tones, as in the MXde', the highest proportion except in the woman's dance songs, 40 per cent of which have this compass. In tone material this group shows a difference from the MXde' and a similarity to certain other groups, 51 per cent of the songs being based on the five-toned scales while the MXde' shows only 33 per cent based on these scales; the alUed groups are the woman's dance songs, the songs connected with gifts, and the songs for the enter- tainment of children, 50 per cent of each being on the five-toned scales. The proportion of songs containing only the tones of the major triad and sixth is the largest except in the pipe dance, constir tutmg 26 per cent of the number. The proportion of songs con- taining the octave complete except the seventh is only 2 per cent, in contrast with 14 per cent in the Mde^ The dream songs differ dbnsmobb] CHIPPEWA MUSIC — 11 39 widely in structure from the MXde' songs, 49 per cent being harmonic and 16 per cent melodic with harmonic framework (a class in which many songs are harmonic except for one measure) ; thus, 65 per cent of the dream songs are harmonic in feeling, compared with 23 per cent in the MXde' and 44 per cent in the war songs. In the proportion of songs beginning with a downward progression this group is next to the MIde', 77 per cent beginning thus. In total number of down- ward progressions this group shows 66 per cent, the same as the woman's dance songs and the songs connected with gifts. The pro- portion of minor thirds in both ascending and descending progression is much larger in this than in any other group. The average interval is the same as in the woman's dance — 3.1 semitones, this being also the average interval of the entire series. The beginnings of these songs are more direct than in the Mde', 74 per cent beginning on the accented part of the measure, contrasted with 47 per cent in the Mlde', while the proportion of songs beginning in double time is larger than in either the MIde' or the war songs, comprising 55 per cent of the number. The time is more variable in this than in any other group except the unclassified songs, 94 per cent of the songs containing a change of time. A triple drum-rhythm is found in 62 per cent, the same percentage as in the songs connected with gifts. A rhythmic unit occurs in a majority of the songs. Both voice and drum have in general a rapid metric unit; in 52 per cent the drum is faster than the voice, a larger proportion than in any except the moccasin game songs. The structure of the dream songs is more centralized than that of the MIde' songs, the harmonic form and the large percentage of songs on the five-toned scales referring the tones distinctly to a keynote. In a general sense it may be said that the Mlde' songs were used for the purpose of affecting persons other than the singers, while in the dream songs constituting this group (with the exception of the ''doctor's songs'') the purpose was to secure an advantage more or less personal. The analysis shows that in some respects this group resembles the Mlde' songs and in other respects shows similarity to the songs of the woman's dance and the songs connected with gifts. The dream songs are even more strongly marked by major tonality than are those of the MIde', which they resemble in the prominence of the dominant, but they are different from the Mlde' and allied to the songs of the woman's dance and the songs connected with gifts, in the harmonic form, the proportion of songs on the five-toned scales, the proportion of upward and downward progressions, the average interval, the accented beginning, and the triple drum-rhythm. The rhythmic units occurring in the dream songs are given on pages 314-317. 40 BUREAU OP AMERICAN ETHNOLOGY [buluSS WAR SONGS (MIGA'dIWIn' NA'GtTMOWi'NfrN) This group comprises- Nos. 122-132 and 154-172 in Bulletin 45, and Nos. 1-50, 63-66, and 80-93 of the present work. On the war- path these songs were accompanied by a small drum (see pi. 7). At the dances in the village, preceding the departure and after the return of a war party, a large drum was used and the drummers were seated around it. In recent years the war songs are sung at the social dances of the tribe, accompanied by a drum similar to that used m the Drum-presentation Ceremony (see pi. 18), but, according to the writer's observation, less elaborately decorated. The war songs are of four kinds — the dream songs of individual warriors, the songs concerning war charms and medicines (these two having a connection with the supernatural element), the songs of the conduct of the war expedition, and those which commemorated its success (the last having no supernatural element) . It is said that '* in the old days no warrior would have dared sing a war song that was not composed in a dream,'' referring of course to the first two classes of war songs. The third class includes the songs of the war messenger, the dog feast, and the departure of the war party, and the fourth class includes the songs which were composed by a returning war party or in the victory dances which followed a successful expedition. The boimdaries between these classes of songs are not strongly marked, and this division should be understood therefore as general in character. Fifty per cent of the war songs are major in tonaUty, the same proportion as in the songs for the entertainment of children. The proportion of war songs beginning on the octave is 27 per cent, the largest of any except the love songs. Seventy per cent of the songs end on the tonic, the same proportion as in the woman's dance, but larger than in the MXde' or in the dream songs. Seventy-six per cent of the songs have a compass of ten or more tones, being exceeded only by the dream and the moccasin game songs, which contain 77 per cent having that range. The percentage of songs on the five-toned scales is less than that of five other groups, but the proportion of songs containing the octave complete except the seventh is larger than in any other group except the MXde' and the begging dance. The sixth lowered a semitone occurs more frequently in this than in any other group^ The purely melodic songs comprise 56 per cent, and the allied class of melodic songs with harmonic framework comprise 25 per cent, showing the war songs to be largely melodic in structure, the proportion being exceeded only in the love songs,'woman's dance songs, and songs for the entertainment of children. In 66 per cent of the songs the first progression is downward. The number of intervals of a second is much above the average, showing freedom of melodic DBN8MOBB] CHIPPEWA MUSIC — II 41 movement. The average interval is ono-tenth of a semitone below the average interval of the entire series of songs. Fifty-one per cent of the songs begin in double time, but this is not steadily maintained, 66 per cent of the songs containing a change of time. The triple rhythm is said to be the drum-rhythm of the victory dance, com- monly known as the scalp dance; but this is found in only 35 per cent of the war songs, 42 per cent showing the even beats which characterize the Mlde' (see footnote, p. 10). Seventy-one per cent contain a rhythmic unit, the largest proportion except in the Mlde'. The metric unit of the voice is rapid, and that of the drum is of medium rapidity; the drum is faster than the voice in only 44 per cent of the songs, the same proportion as in the begging dance and the woman's dance, and much less than in the MIde' and the dream songs. • The group of war songs is probably less homogeneous than any other, and its correspondences to other groups are diverse. The relation to the Mlde' songs seems stronger than any other, being both melodic and rhythmic; there is also a melodic correspondence with the dream songs, the relation to these two groups being attributable to the common element of communication with the supernatural. Both the MXde' and war songs are principally melodic in structure, but the feeling is for the dominant in the former and for the tonic and its octave in the latter. Definiteness of idea and assurance of success are suggested by the prominence of the rhythmic unit and the major tonaUty. The correspondence with the woman's dance may come from the fact that this dance was a favorite one during the periods of peace between the Chippewa and the Sioux. It was said to have been given to the Chippewa by the Sioux. The begging dance also was received from the Sioux, and with that group the war songs show both melodic and rhythmic correspondence. The relation to the moccasin game songs is only in the compass, which may be attributed to the element of excitement in both groups; this element does not affect, however, the tempo of the war songs or the relative speed of voice and drum, as it appears to do in the moccasin game songs. Regarded as a whole, the characteristics of the war songs are control, definiteness, and a strong centralization, the melody tones being referable to a keynote in a greater degree than in many other groups of songs. The rhythmic units occurring in the war songs will be found on pages 318-325. LOVE SONGS (sA'Gri'DiwiN' ufA'atmowViiftS) This group comprises Nos. 133-141 and 163-167 of Bulletin 45 and Nos. 105-113, 157-160, 170, 177, and 178 of the present work, the " love-charm songs '' of the Mide' not being included. The love songs were unaccompanied by any instrument, but lovers frec\jji«wlV5 ^^^^ 42 BUBfiAtJ Of AMERICA^ BTHKOLOQY (BULUttS on a musical instrument commonly called a flute, but Bimilar in construction to a flageolet, being blown at the end instead of at the side.^ The instrument is called Mbi'gwAn. (See pi. 2.) This instru- ment was procured at Lac du Flambeau, from a middle-i^ed woman, who said it had belonged to her grandfather. It is 2 1 ^ inches long and 1 i inches in diameter. A test of the instrument shows its lowest tone to be about a quarter tone above G, second line, treble clef; in the octave above this the tones are clear, but in the second octave the instrument does not respond. It is worthy of note that the fourth produced by this instrument was less accurate than other intervals and that the seventh was very faulty and not a clear tone. Uncer- tain intonation on the fourth and seventh is noted in Bulletin 45, pages 4-5. The following melody, played on this instrument, was furnished by Rev. C. H. BeauUeu; it is said to be very old. i ^'^n r ir J r I J JiJ J iiJ ^tj+j j jIjt " j\ir^ij i j[^ Attention is directed to the prominence of the subdominant, which has been found to characterize 11 per cent of the love songs (see No. 106). The love songs of the Chippewa are plaintive in character, usually expressing sadness and disappointment. Thirty of these songs have been recorded and only one of this number is inspired by happiness (No. 177). The words of seven are not transcribed. In most in- stances the words, which are continuous throughout the melody, were not accurately repeated in the repetitions of the songs, but it has usually been possible to give a free translation indicating the char- acter of the words. Only one love song expresses a promise and one a request, six concern the departure of a lover, and five concern loss ' and longing. Two express jealousy and offense, two fickleness, and two relate to an attempt to drown disappointment in drink. It has been already stated that the words of the love songs are some- times impromptu, and that new words are sometimes fitted to old tunes, the general idea remaining the same. Expression by means of a combination of words and music is much more free in the love songs than in any other gi'oup, and they may be said to constitute a distinct phase of musical culture and practice. Although these songs are indicative of an unhappy state of mind| 40 per cent of them are major in tonaUty. In this group the per- centage of songs beginning on the octave is larger than in any other except the war songs. Eighty-six per cent begin on either the tonic, octave, or dominant, nearest to this being the songs of the begging dance, which show 85 per cent, and of the moccasin game, 84 per cent. 1 Contributions to the History of Musical Scales, by Charles Kasson Wead, In Rtpoit CT. 8. National Muteum, 1900, p. 426, Washington, 1902. DSNfiMokE] CHIPPEWA MUSIC — 11 48 The proportion of songs ending on either the tonic or ilt>nnnaiH im 0«i per cent, larger than in any other group except the ]>ipo dttn son^M and the songs for the entertainment of cliildren. Ninety-seven j>or cent of the love songs have a compass of an octave or mon\ and four songs have a range of 14 tones. The love songs have the highest percentagt> among songs contain* ing all the tones of the octave, the begging dance songs ranking next; the omitted seventh, which characterizes the war songs, does not appear in this group, and the octave complete (vxcoi)t the second occnm in 17 per cent of the number. The five-toned scah^s appear less frtw quently in this than in any other group. In accidentals the sixth is sharped more often than in any other grouj); the Hat third, whi(^h we arc accustomed to connect with tlie idea of sadness, does not appear, and the flatted sixth occurs only twice. Two songs have t he third omitted, a peculiarity found to exist in snveral songs concerning women (see analysis of No. 53). Ninety-thnw ])er cent of thc^ songs are purely melodic in structure, a proportion much higher than in any group except the woman\s dance (100 per c^uit), tlie group luuirest' it being the songs for the entertainment of children, which contains 87 per cent of melodic songs. Half the love songs Ix^gin wit-li an upward and half with a downward progression, the proportion being the same in the woman\s dance, the gift songs, and tlie songs for the entertainment of children. The love songs, so eminently songs of sadness, contain a smaller percentage of minor thirds (in l)oth asciuid- ing and descending progression) than any other group. The pro- portion of ascending fifths is much larger than in any other group, and seven ascending intervals of a twelfth are found, showing, as in the preceding Tables, a strong fading tor the dominant* Tlie aver- age interval Ls 3.4 semitones, the highest exc>49pt in the moc^'.asin game and the pipe danrM) swings, two classes C/Omprising swings of a high degree of excitement, in which the average irii<9rval in 'AJf. \u contrast to this the metric unit of the voicxj is sl/iw. Tlie pro[Kirtion of songs containing a change of time is much af^ove tlie av^^age, and most of the srjngs do not r^^mtain a rhythmic unit. The interval of the twelfth is prriminent, showing a furling for tlie second overtone as in the ^lUW', it will 1k5 rM:ti\Uui that the war t^fU^^H show the first overtone, which Lh the w^tave, (jmi\At^U*4%imk anil fn?!^ dom of expr(»Aum hra rtUggf#«ted by the irielrKlic form, ih^ large /y/H»» pass, and the ase of all the UpU4» of the r^rtave; an eW«#?«l of exriu-^ ment by the hir^efie^n of the av#;rag« inUrval, and aii ttUffft^ti of control by the i-hfw u^irv: unit, whik a W:k of iMimU'Xy iorttU'A thought k Mjgg#r«tt^/1 by t\ifi i^rnall {>«^i?#friiag#; i:^/fitaifiifig a rtiylibmk UTlit. 44 BUBEAU OF AMERICAN ETHNOLOGY [bull. 68 MOCCASIN GAME SONGS (MAKIZiN^ATA'DIWiN' NA^GthfOWl^NM) This group comprises Nos. 142-145 and 168-176 of Bulletin 45, and Nos. 125, 126, 161-163, and 176 of the present work. It is said that in the old days most of the moccasin game songs were "com- posed in dreams'' but only a few such are included in this series. The instrument used to accompany these songs is a drum, speci- mens of which vary but little in size, provided usually with deerskin heads (see pi. 3) .^ With this drum is used an ordinary short drum- stick the end of which is wound with cloth. Small pieces of tin are sometimes set in the frame of the moccasin game drum, to add a jingling eflFect. In the analysis of these songs may be noted a large proportion in minor tonaUty, exceeded only by the songs of the woman's dance and the songs connected with gifts. Eighty-four per cent begin on, and all end on, either the tonic or dominant. None of the songs have a con^ass of loss than an octave, resembling in this respect the woman's dai^ce and the pipe dance songs. One-third of the songs are on the second five-toned scale, this being the lai^est proportion in the entire collection, the closest approximation being the woman's dance songs. The several five-toned scales comprise 43 per cent of the entire num- ber, and apart from these the group presents a wide range of tone material. Only one song conta'ms an accidental — the flat sixt^. Forty-two per cent of the songs are harmonic in structure, the group being exceeded in this respect only by the dream songs. The per- centage of descending minor thirds is below the average, notwith- standing so large a proportion of the songs is minor in tonality, this group resembling the love songs in this respect. The average interval, wliich is the same as in the pipe dance (3.5 semitones), is the largest in the entire series. Eighty-nine per cent of the moccasin game songs begin on the accented part of the measure, being exceeded in this respect only by the woman's dance songs with 90 per cent, and by the pipe dance songs with 100 per cent. With the exception of the woman's dance and the gift songs this group maintains the time throughout the song more steadily than any other group, a feature which is surprising in view of the excitement of the game. Thirty- three per cent of the songs contain a rhythmic unit, the percentage of songs in the entire series containing such unit being 62. In this the moccasin game songs are seen to be below the average, songs for ■ "" ■-■■■■■, ■^■Ml ■■■■! ^^^1^ ■ I, 111.... ■■■■I ^■^—i ■— ^B^^i^^^i^i^ 1 The instrument here illostrated was obtained at White Earth; ft is said to be very old. The cover has been renewed from time to time, the design being duplicated on the new cover, as in the instance of Odjib'we's war drum (p. 62). The diameter of the drum shown in plate 3 is 18} Inches, the thickness 2} inches. A single piece of deerskin forms both heads; this is sewed with strips of hide on which some of the hair remains. Inside the drum are three tightly stretched cords, each provided with small pegs tied at equal distances. At the writer's request the former owner of the drum fastened a cord across an ordi- nary hoop (pi. 3) in the same manner as the cords are fastened inside the drum. The pegs are tied to the cord and before the cover of the drum is put in place the cord is twisted to increase the tension, permitting the pegs to vibrate against the deerskin. BUREAU OF AMERICAN ETHNOLOOV MOCCASIN GAME DRUM MNSMOBB] CHIPPEWA MUSIC — ^n 45 the entertainment of children (38 per cent having a rhythmic unit) ranking next. The rhythmic unit appears to represent a definitely formed thought and conveys that impression to the hearer. In this connection it will be noted that the chief concern of the moccasin game player is to give no clue to his thought, thus mentally eluding his opponents. A wide range is shown in the speed of both voice and drum, and in comparing the metric units of the two it is found that the drum is faster than the voice in 82 per cent of the songs, the per- centage for the entire series being only 46. Thus the moccasin game songs constitute a group which in some phases of analysis shows itself aUied to the groups of dance songs (the woman's dance, the pipe dance, and the begging dance), though its songs were never used in dances. This resemblance is in the form of the song, not in the rhythm of the drum, which is peculiar to the moccasin game. It wiU be recalled that many dream songs and war songs were used in dances and that the phonograph records of those songs show a drum-rhythm similar to that of these three groups of dance songs, but many of the war songs and all the dream songs were essentially personal in character. The social element was strong in the moccasin game and in these three kinds of dances. The woman's. .. dance and the begging dance were open to all the men and women,. .: and the pipe dance is said to have been ''the principal good-time-, dance'' of the old Chippewa. In similar if not greater degree a. moccasin game was a center of interest in the camp; it is said thatg.v. "the whole tribe" always gathered around the players, watching thet^.v game and betting on the result. Thus the social element may be said to be the point of contact between the moccasin game and the dance groups. A resemblance to the love songs may be noted in the seeming discrepancy between the tonaUty and the character of the intervals. Perhaps it may be said that these two groups have in common a certain elusiveness and whimsical changeableness. Direct- ' ness is shown in the accented beginnings of the songs and their endings on the tonic, but this is contradicted by the small percentage of songs containing a rhythmic unit. The rhythm of the drum is the usual moccasin game rhythm (see No. 125). The rhythmic units occurring in the moccasin game songs are given on pages 327-328. woman's dance songs (ikwe'nimiwIn' na'gumowi'nM) This group comprises Nos. 177-185 of Bulletin 45 and No. 164 of the present work. The woman's dance is a social dance in which an invitation is usually accompanied by a gift. This dance is described in Bulletin 45 (p. 192) and is illustrated in plate 45 of the present work. The dance is said to have been acquired long ago from the Sioux, but the 46 BUREAU OF AMERICAK ETHNOLOGY [BUU«.U songs in this collection are supposed to have been composed bj Chippewa. The drum used to accompany the woman's dance is the large drum similar to that used in the Drum-presentation Ceremony but less elaborately decorated. Seventy per cent of the woman's songs are minor in tonality, this being the largest proportion of any group except the gift songs, which show 75 per cent. Half the songs begin on the dominant and one-fifth begin on the octave above the tonic. The proportion end- ing on the tonic exceeds the average of the series. Forty per cent have a range of an octave, and 40 per cent a range of a twelfth, this being the highest percentage in the group. Half the songs are on the five-toned scales, this proportion being the same as in the gift songs and in the songs for the entertainment of children. Only one song contains an accidental, and all the songs are purely melodic in structure, the love songs (93 per cent) being the nearest rivals in this respect. The upward and downward progi'essions are evenly divided, as in the love songs and in those for the entertainment of children. One-fourth of the intervals, in both ascending and descending pro- gression, are minor thirds. It Anil be recalled that the moccasin game songs, Avith almost the same proportion of minor tonality, do not show so great prominence of minor thirds. The average interval is the same as the average for the entire series — 3.1 semitones, the same interval being shown by the dream songs. In definiteness of beginning these songs exceed all except the songs of the pipe dance, 90 per cent beginning on the accented part of the measure. Conti- nuit}'^ of measure-lengths is greater in this group than in any other, 40 per cent of the songs showing no change of time. The triple drum-rhythm occurs with all the songs. Considering the definiteness of beginning, the large proportion of songs ending on the tonic, and the steadily maintained length of the measures, it is surprising to find that the proportion of songs containing a rhythmic unit is the smallest except in songs of the moccasin game and for entertainment of children. The proportion of songs having the same metric unit of voice and drum is largest except in the pipe dance. The rhythm of the woman's dance songs is particularly "catchy'' and pleasing, but the element of what might be termed intellectu- ality does not enter into this merrymaking, and perhaps this lack is one of the factors essential to the development of a song from a small group of tones. In tonaUty we note a correspondence wdth the gift songs and recall that gifts were an important feature of the woman's dance. Simple pleasure allied this group to that of the pipe dance songs and the songs for the entertainment of children, and some cor- responding characteristics are shown by the analysis. The rhythmic units occurring in the woman's dance songs will be foimd on page 328. DBNSMOBB] CHIPPEWA MUSIC — n 47 BEGOINQ DANCE SONGS (bAGOSAN'nINQE'nIMIWIn' NA'GtTMOWi'NtrN) This group comprises Nos. 187 and 188 of Bulletin 45. and Nos. 114r-118 of the present work. The begging dance, like the woman's dance, is said to have been derived from the Sioux. In the writer's observation of this dance among both Chippewa and Sioux the large drum is used; this is carried by two or three men as the begging party goes from tent to tent. This dance is described in Bulletin 45 (p. 171) and its tradi- tional origin is given on page 228 of the present work. The percentage of these songs in major tonality is 72, the same as in the Mide' and 4 per cent less than in the dream songs. Seventy- one per cent begin on the dominant, resembling the MKde' songs, in which 70 per cent begin on the dominant. Fourteen per cent only begin on the tonic. The proportion of songs ending on the tonic is 24 per cent below the average (see Tables 2 and 3), indicating a slight feeling for the keynote. The percentage of songs beginning on the ninth is almost double that in any other group. The ninth is usually a tone of approach to the octave. The number of songs on the five-toned scales and the number with the octave complete except the seventh are equal. Only one song contains an accidental, and 72 per cent are purely melodic in structure, this being 6 per cent above the average. The percentage of downward progression is 67, the same as in the Mide', and the largest in the entire series. The percentage of ascending fourths is the largest in the series except in the pipe dance. This interval has been found to characterize songs concerning motion; it is considered in the analysis of song No. 22. The average interval of this group is the same as in the Mide', and is the smallest in the entire series except in the songs connected with gifts. The percentage of songs beginning in double time is the largest except in the pipe dance and the songs for the entertainment of chil- dren, and the time is more steadily maintained than in any except these groups and the unclassified songs. A small proportion of these songs contains a rhythmic unit, the related groups being the woman ^s dance and the songs for the entertainment of children. The num- ber of songs having the same metric unit of voice and drum is the same as the number in which the dnmi is faster than the voice. In the analysis of the Mide' songs a similarity between that group and the songs of the begging dance was noted and some corre- spondence of motive was traced. In the analysis of the begging dance songs are found similarities to the songs of the pipe dance and the woman^s dance, the songs for the entertainment of children, and the songs connected with gifts; and some similarity of motive also can be traced between these groups. The purpose of the begging dance was, of course, the securing of gifts. Underlying the other 48 BUREAU OF AMERICAN ETHNOLOGY [BULL. 68 three classes of songs is a strong element of pleasure and simple amusement. The woman's dance, with its exchange of gifts, is greatly enjoyed by the Chippewa, much interest surrounding the ^'return present," as everyone who is given a present is expected to return one of equal value. The pipe dance is a ludicrous pantomime, and the songs for the entertainment of children usually end in laughter. The element of pleasure is equally strong in the begging dance. The writer has seen a merry party going from tent to tent, singing the begging dance songs. This dance forms the great recrei^ tion in a camp. There is the discomfiture of the people who are not prepared with proper gifts of food (the recollection comes to the writer of a woman running after a begging dance party with a pail of maple sugar which she could not find when they were at her tent), and there is the pleasure of forcing people to give who are not disposed to be generous. Added to these factors is the delightful uncertainty as to the nature of the food to be bestowed and the pleasant anticipi^ tion of the varied feast to follow. No one acquainted with a Chippewa or a Sioux camp would be surprised at the resemblances shown in this analysis. The rhythmic units of the begging dance songs are given on page 329. PIPE DANCE SONGS (oPWA'CUNINI'mINIn NA'cCMOWl^NtrS) This group comprises Nos. 171, 172, and 173 of the present work. The pipe dance was performed solely for the merriment of the tribe. In its original form it passed out of existence long ago and only a few of its songs remain. The number of songs in this group is so small that the percentages are less significant than in other groups, but some general characteristics of the songs are shown by their analysis. Most of the songs are major in tonality and begin on the third, but all end on the tonic. One song has a range of but four tones, the only one having a similar range being a dream song. The major triad forms the framework of two-thirds of the songs, none contain an accidental, two-thirds are purely melodic, and the downward progressions are much greater in number than the upward. The average interval is the same as in the moccasin game songs and the element of excitement was probably almost as great in one as in the other. All the songs begin on the accented part of the measure,, all begin in double time, and all show a change of time. Two-thirds of the songs contain a rhythmic unit. Considering the element of excitement in the dance, it is surprising to find the metric unit of voice and drum the same in all the songs, none of the other groups showing a percentage of more than 56. This can scarcely be regarded as an original feature of the pipe dance music, but may suggest the mental attitude of the Indian at the present time. For the rhythmic ynits occurring in theac songs §^e page 329, dbnsmobb] chippewa music ii 49 songs connected with gifts (mi'gine, ma'moya'ne, na'g^mowI' nM) This group comprises Nos. 151-153 and 189-191 in Bulletin 45, and Nos. 123, 124 of the present work. These are the songs which accompany gifts, usually the gift of a pony, and are sung by the recipient or giver, together with the singers at the drum. The songs are used in the social dances. Three-fourths of the songs are minor in tonality, and one begins in major tonality but changes to minor by lowering the third and sixth a semitone, the keynote remaining the same. Half of these songs begin on the keynote, and half end on the tonic. Eighty-eight per cent of them have a compass of an octave or more, the allied groups being the moccasin game, woman's dance, and begging dance. Half the songs are on the five-toned scales, as in the woman's dance and the songs for the entertainment of children, and all contain the tonic triad. Only one song contains an accidental and in this the second is lowered a semitone. Sixty-two per cent of the songs are purely melodic in structure. Half begin with a down- ward progression, the same proportion occurring in the songs of the woman's dance and the songs for the entertainment of children. The minor third constitutes more than one-fourth of the intervals in both ascending and descending progression. The average interval is the smallest in the entire series, being only 2.2 semitones. Eighty-seven per cent of the songs begin on the accented part of the measure, a proportion exceeded only by the songs of the moccasin game, the woman's dance, and the pipe dance. Sixty-three per cent begin in 2-4 time and contain a change of time. The drum-rhythm is that of the social dance. The percentage of songs containing a rhythmic imit is the same as that of the entire series. In half the songs the metric unit of voice and drum is the same, and in half the voice is faster than the drum. The rhythmic units occurring in these songs are given on pages 329-330. songs for the ej^tertainment of children (a'dizo'ke na'gumowi'nun) This group comprises Nos. 149 and 197 in BuDetin 45 and Nos. 51-53, 127, 179, and 180 of the present work. Nos. 149 of Bul^Btin 45 and No. 127 in this volume represent different versions of the aame song, recorded on widely separated reservations, which present dome differences on analysis. It will be noted that, with the excep- tion of the lullaby, all these songs are characterized by a marked sense of humor and usually mimic the interests and occupations of the tribe. Half these songs are major and half are minor in tonality; half begin on the tonic and three-fourths end on the tonic. Two songs 679ve**— BuU. 5^—13 1 50 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 are on the fifth five-toned scale and two on the fourth five-toned scale, these comprising half the group. From two of the songs the third is omitted (see analysis of No. 53). None of these songs con- tain an accidental and 87 per cent are purely melodic in structure. Half b^in with a downward and half with an upward progression. The minor third is especially prominent in the descending intervals. The average interval is the same as in the war songs, and we note that three of these songs are concerned with a child's game of war and one with war between animals. Half the songs begin on the accented and half on the unaccented part of the measure. Three- fourths begin in 2-4 time and the percentage of songs marked by a change of time is the largest except in the dream songs, the pipe dance songs, and the unclassified songs. Sixty-two per cent contain no rhythmic unit, this proportion being exceeded only in the moc- casin game songs. In the rendering of these songs, as well as in those of the moccasin game, a high degree of excitement prevails. Most of the songs were recorded wdthout the drum; in one song drum and voice show the same metric unit, while in another the drum is slower than the voice. The rhythmic units occurring in these songs will be found on page 330. UNCLASSIFIED SONGS This group comprises the following songs: Nos. 146, 147, 148) 150, 186, and 192-196 in Bulletin 45, and Nos. 67, 68, 119-122, 165-169 of the present work. These songs present a wide variety of inter- est, including songs of the ca'wtino'ga (southern) dance, the divorce ceremony, the friendly visit of one band to another, and a song concerning an historical incident. As the topics of the songs are so diverse it does not seem expedient to consider the group as a unit. The rhythmic units found in the songs are, however, of interest (see pp. 330-332). melodic and rhythmic resemblances between song groups (based on tables 1-22) The preceding analysis suggests connection between the idea of the song and its musical form, and also indicates resemblance between groups of songs containing a somewhat similar idea. Tables (pp. 51-58) have been prepared in order that these resemblances may be more con- veniently observed. For instance, it wiQ be noted that the MIde' songs resemble the begging dance songs, the idea common to both being desire for acquirement, in the former for the acquirement of super- natural power and in the latter for gifts of food. Turning to the analysis of the begging dance songs, they are found to be allied to the three groups of songs in which the element of pleasure is strongest — the songs of the woman's dance, the pipe dance, and those for the DBNSMOBB] CHIPPEWA MUSIC — ^11 51 entertainment of children, the begging dance combining the idea of acquirement with that of pleasure. It may be noted also that the begging dance and the pipe dance songs have in common a large proportion of intervals of the ascending fourth, which have been found to characterize songs concerning motion (see No.' 22), and it is recalled that the persons engaged in the begging dance made the circuit of the entire camp and that the pipe dance was a contortion dance. Turning to the analysis of the songs for the entertainment of children, we find that group alUed to the pleasure songs and also to the war songs, and recall that one-half the songs of this group relate to mimic warfare or warfare between animals. From further study of structural resemblances between groups of Indian songs it may be possible to ascertain whether a rhythmic unit is usually found in songs of definitely formed thought, whether a feeling for the tonic and its octave is strongest in subjective songs, and to throw light on other pecuharities suggested as subjects of more extended investigation by this comparative analysis of the content and form of Chippewa songs. Tabulated Analysis of Resemblances 1. mIde'' songs General motive of songs: The securing of a definite result through supernatural power, the person affected being usually some one other than the singer. Melodic resemblances of Mlde' songs to — Dream Songs a, In major tonality ft, In proportion of songs beginning on octave c, In proportion of songs ending on tonic dj In compass of twelfth e. In first progression downward Love Songs In purely melodic structure Woman's Dance Songs In purely melodic structure B^ging Dance Songs a, In major tonality ft. In proportion of songs beginning on dominant c. In proportion of songs containing octave complete except seventh d, In proportion of downward progressions 6, In average interval Songs for the Entertainment of Children In purely melodic structure 52 BUREAU OF AMERICAN ETHNOLOGY (tolu53 Bhythmic resemblances of Mide' songs to — Dream Songs In proportion of songs in which drum is faster than Yoioe Certain kinds of War Songs In double drum-rhytlmi Moccasin Game Songs In proportion of songs in which drum is faster than voice 2. DREAM 80KG8 Genfral motive of songs: The securing of supernatural aid in per- s^)nal undertakings. Melodic resemblances of dream songs to — MIde' Songs a, In major tonalit}' ft, In proportion of songs beginning on octave c, In proportion of songs ending on tonic d, In compass of twelfth e, In first progression downward Love Songs In proportion b^inning on twelfth Moccasin Game Songs In harmonic structure Woman's Dance Songs a, In five-toned scales 6, In compass of twelfth c, In proportion of downward progressions d, In average interval Begging Dance Songs In major tonality Pipe Dance Songs a, In proportion containing major triad and sixth 6, In songs having compass of four tones vSongs Connected with Gifts In five-toned scales wSongs for the Entertainment of Children a, In five-toned scales 6, In proportion of downward progressions Rhythmic resemblances of dream songs to — Mide' Songs In proportion of songs in wliich drum is faster than voice Songs Connected with Gifts In triple drum-rhythm DBNSMOBBl CHIPPEWA MUSIC — ^11 53 3. WAR BONOS General character of songs: (1) Dream songd of individual warriors; (2) Songs conceming war medicines; (3) Songs incidental to a war expedition; (4) Songs conceming success on the warpath. Melodic resemblances of war songs to — MIde' Songs In proportion of songs containing octave complete except seventh Dream Songs In compass Love Songs a, In proportion of songs b^inning on octave bj In melodic structure Moccasin Game Songs In compass Woman's Dance Songs a, In proportion of songs ending on tonic by In melodic structure Songs for the Entertainment of Cliildren a, In equal major and minor tonality by In melodic structure Rhythmic resemblances of war songs to — Mide' Songs In double drum-rhythm (of certain classes of war songs) Begging Dance Songs In proportion having drum faster than voice 4. LOVE SONOS Oeneralcharacterofson^gs: The expression of disappointment, loneli- ness, and sadness. Melodic resemblances of love songs to — Mide' Songs In melodic structure Dream Songs In proportion of songs beginning on twelfth War Songs a, In proportion of songs beginning on octave by In melodic structure Moccasin Game Songs a, In proportion of songs beginnmg on tonic, octave, or dominant 6, In average interval 56 BUKEAtJ OF AMEBICAN ETHNOLOGY [bull. 53 7. BEOaXNG DAKCE 80X08 Elements in the dance: Pleasure and acquirement. Melodic resemblances of begging dance songs to — • Mlde' Songs a, In major tonality 6, In proportion of songs beginning on dominant c, In proportion of songs containing octave complete except seventh J dy In proportion of downward progressions j, Cj In average interval Dream Songs In major tonality I Love Songs ■ In proportion of songs beginning on tonic, octave, or a dominant | Pipe Dance Songs In number of ascending fourths Rhythmic resemblances of begging dance songs to^ Woman's Dance Songs In rhythmic unit Songs for the Entertainment of Children a, In proportion of songs beginning in double time bj In rhythmic unit 8. PIPE DANCE BONGS Elements in the dance: Ludicrous pantomime and contortion. Melodic resemblances of pipe dance songs to — Dream Songs a, In proportion of songs containing major triad and sixth 6, In songs having compass of four tones Ijove Songs a, In proportion of songs ending on tonic or dominant ft. In average interval Moccasin Game Songs In average interval Rhythmic resemblances of pipe dance songs to — Moccasin Game Songs In proportion of songs beginning on accented part of measure Woman's Dance Songs In proportion of songs beginning on accented part of measure 1 ! DBNSMOREl CHIPPEWA MUSIC — ^11 57 9. BONOS CONNECTED WITH GIFTS Comprising songs which are &ung when a gift of considerable value is given or received at a social dance. Melodic resemblances of songs connected with gifts to — Dream Songs In five-toned scales Love Songs In proportion of downward and upward progressions Moccasin Game Songs In minor tonality Woman's Dance Songs a, In minor tonality hj In five-toned scales Cj In proportion of downward and upward progressions Rhythmic resemblances of songs connected with gifts to — Dream Songs In triple drum-rhythm Moccasin Game Songs In time steadily maintained Woman's Dance Songs In time steadily maintained 10. SONGS FOR THE ENTERTAINMENT OF CHILDREN Comprising songs of mimic warfare and of warfare between ani- mals — two songs intended only for amusement, and one lullaby. Melodic resemblances of songs for the entertainment of children to — MWe' Songs In melodic structure Dream Songs a, In five-toned scales by In proportion of downward progressions War Songs a, In equal major and minor tonality bj In melodic structure Love Songs a, In proportion of songs ending on tonic or dominant bj In melodic structure c, In proportion of downward and upward progressions Woman's Dance Songs a, In five-toned scales 6, In proportion of downward and upward progressions 58 BUMIAU OF AMERICAN ETHNOLOGY [BULuSn Rhythmic resemblances of songs for the entertainment of children to- hove Songs In change of time Moccasin Game Songs In rhythmic unit Woman's Dance Songs In rhythmic unit Begging Dance Songs a, In proportion of songs beginning in double time 6, In rhythmic unit WAR SONGS OF THE MISSISSIPPI BAND OF CHIPPEWA OdjXb'we (pi. 1),* the last great warrior of the Mississippi Band of Chippewa in Minnesota, sang the songs which were associated with his own expeditions, related the story of his war parties, and described the war custopfis of his people, so that the white man might know about them when the last warrior of' the Chippewa should have been forgotten. These songs and narratives constitute the greater part of the following chapter. At the age of 59 Odjib'we still possessed a voice of unusual strength and sweetness. The first phonographic records of his songs were made in August, 1909. A second set of records was made two weeks later for purposes of comparison, the songs being accurately repeated. At the expiration of several months the entire material was translated into Chippewa for revision by Odjib'we, some new songs were added, and many were sung or recorded a third time. In these repetitions it was noted that certain tones which were shortened or prolonged in the original rendition were shnilarly shortened or prolonged; also, that a slight sharping or flatting of certain tones was repeated. The records occasionally vary in unimportant melody progressions or in note-values which do not affect the length of the measure, and a few songs show changes in words, Odjlb'we stating that it is permissible to alter the words, but that the ''tune" and the meaning of the words must not be changed.^ The original record of a song was not played when securing a repetition, hence the identity of the renditions shows how cleariy the melody was retained in the mind of the singer. 1 The name of this warrior is identical with the name of the tribe, the word being applied also to a member of the tribe (singular Odjib'we, plural Odjib'weg). The corrupted form "Chippewa/* the only form which seems to have been used in Government publications, has never been adopted by the Indians. Many variants of this name were used by early writers, among those cited being, Achipo4s (Perrot, 1671), Ochipoy (York, 1700), Chepeways (Clroghan, 1760), Tschipeway (Wrangell, 1839), and Otchipwe (Baraga, 1878). ( See Handbook of American Indians, Bull. SO,B.A. E.fpt,l,pp. 280-281. ) In the first vohime of treaties published by the Government the form " Chippewa " appears. (See Indian Treaties and Laws and Regulations relating to Indian affaiis, compiled aivl published under orders of the Department of War, Washington City, 1826.) The meaning of the word Odjfb'we (pronounced Ojib'way) has been a subject of much discussion. (See William H. Keating, in Narrative of an Expedition to the Source of St. Peter's River, vol. 2, p. 151, Phila- delphia, 1824; Gov. Alexander Ramsey, in Eeport of Commissioner of Indian Affairs, Washington, 1850, p. 83; and WiUiam W. Warren, in History of the Ojibways, St. Paul, Minn., 1885, p. 36.) The derivation of the word from a root meaning "to pucker'' is established, but the connection of the idea is a matter of dispute. The fMm of moocasin to which some have attributed the name is shown in plate 36. It is possible that the word Ojibway may have been derived from a place name in the country from which the tribe came many generations ago. s See description of song No. 37, p. 119. 59 60 BUBEAU OF AMEBICAK ETHK0L06Y (bi7ix.5S Truly OdjIbVe was a musician as well as a warrior. More than 70 of his songs were recorded, and these were only part of the melodies at his command. In the long years of his blindness, passed in the Old People's Home at White Earth Agency, Minnesota, he loved to sing. Several of his comrades were there also, and they loved to recall the days when the sweep of the prairie, from horizon to horizon, belonged to the Indian. Niski'gwftn ("ruffled feathers"),^ who fought beside him in the great struggle at Ca'gob^ns' village, was also there, and how good it was to talk over the old times! And Maiil^gans C'little wolf"), plate 9, was there, too. Although Main'- gans came from Afille I^ac, he had lived at White Earth for almost a generation. He, too, loved the old ways and the old songs. Maifk^gans is a cripple, his feet having been frozen when he was a br^y, yet he Is remarkably active. He attributes his rugged strength to the constant use of a native remedy called the WfUciwiick^ (*' cattle herb medicine"). Tliis is a kind of medicine used by warriors in the old days, and Maiii^gans, as his contribution to the war chai)ter of Chipi>ewa music, described this medicine for the writer, secured specimens of the lierb, and sang the songs connected with its origin and use. On one occasion Niski'gwtln was present when Odjib'we was recording songs and added to the collection his own dream song and one or two others. The songs of the rnVrdsiTio'wilck ("island herb medicine") were sung by Na'waji'bigo'kwe ("woman dwelling in the midst of the rocks"), who well remembers when the herbs were dug to make this medicine for the departing warriors. Few persons on the White Earth Reservation are more skilled than she in the lore of native medicines. Personal reminiscences were given also by Meja'kigi'jlg (see footnote, p. 83), Ma'djigi'jig ("moving sky"), and A'kiwftn'zi ("old man"), all of whom took part in the wars against the Sioux, the two last named fighting under Odjib'we's leadership. These persons furnished the material in this section.. Odjib'we died in April, 1911. Many of the songs herein preserved were known only to him. He stood alone, his preeminence unques- tioned by his tribe throughout northern Minnesota. His hand was never lifted against the white man, but when war was glory he led his peo])le to victory over the Sioux. May he rest in peace. The final battles in the hereditary warfare between the Chippewa and the Sioux were fought in central Minnesota. This warfare, wliich began before the tribes became known to the whites, had its origin at the time of the westward migration of the Chippewa (Ojibwa), wlio found their progress barred by tlie Dakota, a Siouan tribie. The conflict continued with intervals of peace until brought to an end by the removal of the Mronesota Sioux by the United States Government. » S»H^ pp. 77-79. AUERICAN ETHNOLOOY BULLETIN S3 PLATE 4 HOLE-IN-T HE-DAY DBNSMORB] CHIPPEWA MUSIC — n 61 On August 19, 1825, a treaty was negotiated at Prairie du Cliien, Michigan Territory,^ in which the Chippewa and the Sioux agreed on a line of demarkation between their territories. This line (sur- veyed in 1835) extended diagonally across what is now the State of Minnesota from near the site of the present town of Moorhead to a point on the Saint Croix River a few miles above Stillwater.^ In spite of the agreement, however, the war parties of both tribes continued to range freely across the boundary line. The last great fight took place in the Minnesota Valley, May 27, 1858, near the site of the present town of Shakopee (see p. 76), but minor encounters between warriors of the two tribes are said to have occurred for some years afterward. Brower makes the following statement: ^ The last formidable Sioux war party, precipitated against the Ojibway nation of Indians, of which there is definite knowledge, proceeded from the Valley of Minnesota River to the Valley of Crow Wing River via Long Prairie, Minn., in June, 1860. • • • There were about 150 painted, bedecked, and ornamented Indians in the party. War between Indian tribes was an occupation rather than a calamity. It can not be said to have been strictly tribal in character, according to our understanding of the term, since any prominent warrior might persuade hi^ comrades to join him and organize an expedition. There were periods of peace, but as the maintenance of peace depended largely on the self-control of the individual warrior, outbreaks were of frequent occurrence. Often one fight ended an expedition, the warriors returning satisfied if they had taken even one or two scalps. The motive for organizing a war party was usually revenge for a kinsman's death. This motive is inadequately expressed by the word "revenge," for it involved the idea that the death of a Sioux "restored'' the man who had been killed by a Sioux. Underneath all other motives lay tribal pride. War was a game whose terrible tally must be kept in favor of the Chippewa. To this end war parties were planned and for this purpose they went forth to strike the quick blow, departing as stealthily as they had come. OdjXb'we was leader of the Chippewa warriors during the time of Bd'gonegi'jig (Hole-in-the-day), plate 4,* the last great chief of the tribe, who was assassinated in 1868. The two men were cousins and theirs was an alliance of the second generation, as the father of OdjKb'we was brother of the first Bd'gonegi'jXg and led liis warriors against the Sioux. Bows and arrows were used in Odjib'we's earlier battles and neither Sioux nor Chippewa rode upon horses. 1 statutes at Large, vol. 7, p. 272. ' Eighteenth Ann. Rep. Bur. Amer. Bthn.t part 2, map 33. » J. v. Brower and D. I. Bushnell, jr., MiOe Lac^ St. Paul, Minn., 1900, p. 97. < From picture (numbered 67) in collection of photographs of North American Indians, in Descriptive Catalogue of the Photographs of the United States Geological Survey of the Territories for the years 1^9 to /S75, iwcZtt«i?«, by W. H. Jackson, Washington, 1874. 62 BUREAU OF AMERICAK ETHNOLOGY [bull. 53 In generalship Odjib Ve was distinguished for sound judgment and steadiness of purpose rather than for reckless daring. His war expe- ditions were successful and he boasted that he was never wounded by the Sioux. OdjYbVe's prowess won for him the right to wear 11 war-honor feathers, each indicating that he had taken a Sioux scalp; these were eagle feathers and were worn upright in a band around the head (pi. 6). The writer saw Odjib'we wearing this decoration in a dance several years before his songs were recorded. Three of the feathers are notched; and the right to wear these was acquired by killing and scalping Sioux; the unnotched feathers indicated that he had scalped Sioux who had been killed by other warriors. The dots of rabbit skin on the feathers indicate the number of bullets in his gun at the time of securing the scalp.^ Bits of once bright ribbon are at the tip of each feather. OdjIbVe stated that ''four feathers could be counted for the death of each Sioux; one was worn by the man who killed him, one by the man who scalped him, and the others by men who assisted in the scalping." •» OdjIbVe was entitled to wear also a skunk skin badge (pi. 6) on his right arm. This signified that he once caught a wounded Sioux by the arm, the incident being related in connection with song No. 3. His war club (pi. 7)j of birch, has a knot for the head. Accord'mg to Odjflb'we, he had despatched two Sioux with this club. After the wars were over he allowed his friends to blacken it and to decorate it with brass nails. The Chippewa war drum was called ogVtMa dewe'igHn ("drum of the braves'')- The frame of Odjib'we's drum is 17i inches in diameter; it is made of wood with metal rim. The frame is apparently not of native manufacture, but Odjib'we said it was the original. He said that in time of war it frequently became necessary to renew the cover on the drum, but the design was always duplicated on the new cover. The cover shown in the illustration is comparatively recent. The design on OdjXbVe's war drum (pi. 7) was explained as follows in the language of the interpreter: There was a man who invented the use of the drum among the Indians. The lightning is a picture of his dream, and the sound of his drum was like the rumble of the thunder. When We^'nabo^'jo was wandering around he always sent Mlcl'^kdn ("large turtle") on his errands; so the large turtle came to be considered a great war- rior. When MlcI^Sn went to war he had MIskwaMes ("small snapping turtle ") as his ocfkahefwis (messenger). That is why the picture of the lightning and the turtle is on the war drum. The Indians fought with bows and arrows, so a picture of a bow and arn)w is also on the drum. Odjlb'wo^s war shirt was of scarlet flannel (pi. 8). After the wars with the Sioux wore ended Odjib Ve kept it in a bag woven of cedar ^ All tho war paraphernalia of Odjib'we, including these feathers, are now in thQ National Museum at Washington. BULLETIN 53 PLATE 5 ODJIB'WE'S WAR-HONOR FEATHERS 4 BULLETIN B3 PLATE 6 1 i 1 f'^^K^ ' ' ™ 1 ODJIB'WE'S WAR-HONOR BADGE N ETHNOLOGY ODJIB'WE'S WAR CLUB AND WAR DRUM ^^ m^^am ^ ^«^"'3f^l!^^ DSNSMORE] CHIPPEWA MUSIC — II 63 bark, a method of storage generally used among the Chippewa. Several years before his songs were recorded the writer saw the old warrior wearing this shirt in a dance. The decoration is of narrow strips of weasel skin, forming a fringe. The weasel is a hunter, a wanderer, and a warrior. A well-known authority states,* "I can not learn of any other creature that is more thoroughly possessed of the lust for blood than are these slim-bodied little creatures." The principal kinds of "medicine'' carried by the Chippewa war- riors were hi'jikiwilclc'^ ("cattle herb medicine''); mVnKslno'wUck ("island herb medicine"), and wa'hilno'wUck (" eastern herb medi- cine"). These medicines were secured by the warriors from the old men of the tribe, usually members of the Mlde'wIwXn (Grand Medi- cine Society), who made a special study of the compounding of herbs. They were used both externally and internally and were supposed to have eflBcacy as charms, their mere presence serving as a protection. They were beUeved also to "counteract the effect of bad medicine carried by the enemy." ^ Bi^jihiwilclc' J a medicine which derives its name from the principal ingredient, is commonly used among the Chippewa at the present time. It is said to be taken internally as a stimulant and as a cure for fits. It is used also externally as a stimulant and to check the flow of blood from wounds. According to Main'gans* (pi. 9), the origin of this medicine is as follows : There was once a Mlde''winl''nl [male member of the Mlde^wlwin] who dreamed that he saw homed animals resembling cattle, under the water. They came up from the water and talked with him, telling him how to prepare this wonderful medicine. In order to persuade them to return he composed and sang a song (No. 22). He was a young man at the time, but he sang this song until he was old. He sang it when- ever he dug the roots or prepared the Wjikuviickf. Others learned it from him and now it is always sung when this medicine is prepared. It was customary for the old men when preparing this medicine to "make noises like cattle''; this was done also when the WjikiwUck' songs were sung in war dances (see No. 23). Maifl'gans used four ingredients in compounding hi^jlTcivrAck\ The number of ingredients was said to vary from two to eight, according to the judgment of the man preparing the medicine, but the prin- cipal herb, that from which tlie medicine took its nama, was always present. I Witmer Stone and William Gtram, A merican Animalt, New York, 1902, p. 237. s From bi'jiki and wUck; the former was originally applied to the buffalo (see No. 99), but at the present time signifies "cattle," while the latter means "medicine." •Cf. J. N. B. Hewitt, "Orenda and a Definition of Religion," in American Anthropologist, n. s., rv, 00. 1, pp. 40, 41, 1902. * Maifl'gans and Odjib'we, treating the sick, are shovna in pi. 10, Bulletin 4.5. BUREAU OF AMERICAN ETHNOLOGY 64 Specimens of the four lierbs usad by Maiil'giins wore secured and were identified by Dr. J. N. Eoso, Division of PLuits, I^nitod St«ti!s National Museum. Theso herbs are as follows: (1) Bi'jikim&ck' ("cattle berb"), tbo plant from which the mi'di- cine took its name. This was said to bo "a plant a few inches hijjh which grows on the prairio toward the west and is sometimes found in sandy soil. The blossoms a})pction of this root in eyiiliilis aiid in malignant sore throat. A decoction of the root has been used with marked euci-ess in cases of hydrophobia, with a view to its specific or remarkable operation on the apparent seat of this malady, the luiyjs, trachea, and larynx." (2) Bi'jikiivm'gflclc, a plant closely allied to the common sagebrush and identified as " Artemisia fngida Willd." (3) Bi'jtkiwi'hU^esa'niig ("cattle plum"), identified as " Aittragalu.t i-ra-Msicarpiix Nutt., or Ground Plum." (4) Bi'jtkivn'ginlg' ("cattle berry"), identified a.'!"/^o.v« aii-itiix(niound(Hl together, tiqinil parts (if each being used, ilain'gans showed the WTiter ]ii-i hi'jlhiii'^fk' medicine pouch (pi. If)) which he always carries with him. feathers attached . (SlfKhtly reduced 1 POUCH AND MEASURE FOR BI'JIKrWUCK' DENSMOBK] CHIPPEWA MUSIC — ^n 65 This contained a mixture of the three ingredients and a very smaU tin spoon, such as is used with a child's toy tea set. Held in place by the flap of the pouch was a small tied packet of the principal ingredient. MaifL'gans said that he frequently took a little spoonful of the powder from the pouch, and, suiting the action to the word, he took a dose of the medicine to show that it could easily be swallowed without water. On the following day, in the writer's presence, he prepared the medi- cine in liquid form. Taking a pail containing about a quart of hot water, he placed a little spoonful of the three mixed ingredients on the surface of the water at the eastern side of the pail, saying Wa'hUnofig C' at the east''), then at the southern side, saying Ca'vrO/nong ("at the south"), then at the western and northern sides, saying NingaWanoflg ("at the west"), and Kiwe^dinofig ("at the north"). These words were merely explanatory of his action. The surface of the water was thus dotted with four small patches of powder. He then opened the tied packet of the principal ingredient, took out one scanty spoonful of the contents, and divided it equally among the patches of powder, placing it carefully in the middle of each, beginning with the east as before but not repeating the names of the cardinal points. The ii^redients soon dissolved in the hot water. According to MaifL'gans the medicme was then ready for use, though some preferred to secure a stronger flavor by boiUng it. He said that the taste was agreeable and that the medicine should be taken four times a day, the dose to bo small at first and then increased, the full dose being taken in a measure (pi. 10) which he gave to the writer. This is made of bircji bark and contains about a tablespoonful. The drawings on the inside are said to represent animals and to indicate that the measure was to be used for this particular medic'me. Maifi'gans swallowed a portion of the liquid after offering it to the writer. Ml'nisino'toiick ("island herb medicine") also takes its name from that of its principal ingredient, which was formerly found only at a certain place on Lake Superior, but was discovered thirty years ago at Mille Lac, where it grows in fine, light sand along the shore. The medicine contains eight ingredients, said to be herbs of about the same sort. An herb called "the last ingredient" is found growing in the woods at White Earth. NaVaji'bigo'kwe said that many years ago the Sioux were "get- ting too powerful for the Chippewa," and that about that time a man "dreamed of a thunderbird, who told him how to prepare and use this medicine." She related the two following incidents of her personal experience with mVnlslno'wilck: In the autumn of 1909 a member of her family was involved in serious and complicated difi^culties. She resolved to help him by means of ml^nlslno^wUck, 67»96«— Bull. 53—13 5 66 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 After searching many weeks in the woods she found at last one little root, not the principal ingredient but all she could find. She took this home, "sang and talked and prayed over it," wrapped it in fresh birch bark and put it into the coat pocket of the man who was to be benefited by it, telling him that it would help him out of his troubles. To the writer's personal knowledge the man was entirely freed from his difficulties a few weeks later. Na'waji'bigo'kwe said also that two years before a man while in a drunken rage had killed his wife. His relatives hastened to Na'waji'- bigo'kwe and asked whether she had any mVnisino'wijtcJc. She gave them a small piece of the root, which the man carried in his pocket. The writer is reliably informed that the man is alive and free to-day, although it is well known that he killed his wife. Aside from its virtue as a charm, nd'nisino'wUcJc is said to be a powerful curative agent. It has the eflFect of checking the flow of blood from wounds, and is also used internally in many forms of sudden illness. It is a "life medicine," used for good purposes only. Four songs connected with this medicine are contained in this section (Nos. 24, 25, 26, 27). Wa^hUno^wllck ("eastern herb medicine") is entirely different in both nature and use from either WjiTcimibck' or TnVnisino'wHiAik. It is said to have had originally some good offices but to have had also evil uses, and as time passed the latter prevailed. Na'waji'bigo'kwe gave the following story of its origin: There was once a young man who was very anxious to join the MXde'wiwln so that he could gain power as a hunter. His father opposed this, saying, "You are too trifling to appreciate so solemn a thing as the MXde'." The youth was very sad because of his father's opposition. He went away and fasted many days. At last a nianido' from the east came to him and told hhn about this medicine, saying that it had both good and bad properties. The youth at once gathered a number of men around him and they formed a kind of alliance; these men were known as Wa'hUnog'} They held dances and were unscrupulous in their use of the medicine. Eight men were destroyed at the first dance, given by a man who knew the secret of this medicine. This tradition was related to Na'waji'bigo'kwe by her grandfather. The medicine "would either kiU or cure those who took it"; it had power also as an evil charm and the property of being able to "make things go through the air." There were said to be many songs connected with this medicine, but none have been recorded by the writer. It was said to have passed out of use among the Minnesota Chippewa except at VermilUon Lake. 1 Compare Hoffman, The Mide'wiwin or " Grand Medicine Society " of the Ojibway,in Seventh Ann. Rep. Bur. Ethn., pp. 156, 157. DBNSMOBB] CHIPPEWA MUSIC n 67 The three medicines above described, imparting power of healing, success, and revenge, respectively, were well adapted to the use of men on the warpath. Songs CJonnected with Odjib'we's Personal Experience * When Odjib'we was a boy his paternal grandfather, two of the latter^s brothers and two of his own brothers, one older and one younger than lumself, were killed by the Sioux. Hatred filled his heart and he determined to hunt and kill the Sioux. Thus at an early age he chose the career of a warrior. In preparation for this vocation he frequently fasted for. several days at a time, remaining alone in the woods and hoping for a dream or vision. At length a dream came to him after a fast of four days. In this dream he saw a woman carrying several guns made of rushes. A party of Sioux approached and the woman gave a gun to each of the Sioux, telling them to shoot at him. The Sioux took the guns made of rushes and shot at him. Out of the guns came horseflies, which lit on him but could not harm him. Then the woman told him that he would be a great warrior and would always be protected. Odjlb'we said that what the woman told him came true, for he was never wounded by the Sioux. The woman also sang a song which became his "dream song." Odjib 'we stated that he ''could never really sing the song until just before his first fight with the Sioux; then the dream returned to him very clearly and the song came to his lips so that he could sing it." After that he sang it freely. He placed his faith in it and often sang it before, or in the midst of, a fight. After the recording of this song on the phonograph the aged warrior bowed his head and said tremulously that he feared he would not live long, as he had given away his most sacred possession. No. 1. OdjIVwe's Dream Song Sung by OdjIb^'we (Catalogue No. 392) Yoios J = 88 Recorded without drum O- blc-ko- na-Wfr-wan i - nl - nl-ioa^w^ 1 See also Nos. 82, 33, 34, 35, 39, 40, 41, which are included in a subsequent chapter to illustrate certain events of a typioal wir expedition. 68 BUREAU OF AMERICAN ETHNOLOGY [bull. 63 WORDS obI(/kona'wawan' when they shot, they missed iiil^nlwiin^* the man Analysis. — ^This song contains nine measures and is divided into four parts, the first, second, and last containing the rhythmic unit, and the third containing the words. This form suggests a definite phase of musical expression. No words occur in the rhythmic unit, the mind of the singer being concentrated on the musical idea. In the part of the song containing words the interest centers on them and the musical idea is secondary. Comparison with other songs having the same form will show in many instances a less definite rhythm in the part containing the words (see Nos. 8, 12, 13, 30, 39, 40, 81, 105). The tonality of this song is minor, but the opening interval of the first two phrases is a major third (see analysis of No. 9, also of Nos. 34, 83, 94, 120). The melody tones are those of the second five-toned scale. Two renditions of the song were recorded; these show no variation in either rhythm or melody. In early youth OdjibVe took part in a dog feast. It was the custom of the tribe to hold feasts of this kind occasionally in order that the young men who aspired to become warriors might show their courage to the assembled people. An old warrior was selected to announce the feast. Walking through the village, he made the announcement in a loud voice. The next day there was a large gathering, especially of the young men. After much singing and dancing, and many speeches, the youths whose courage was to be tested were seated on the ground in a circle, in the center of which a dog was killed. The liver was then removed and cut into small pieces, one of which was given each young man on a long stick. If he chewed and swallowed the morsel without flinching, he was con- sidered brave enough for the warpath, but if he shuddered or drew back he was deemed faint-hearted and was greeted with jeers by the assembly. Odjib'we said that he endured this test '* without the slightest change of expression,'' but that for many days afterward he was unable to bear the thought of what he had done, although ho never admitted this to any one. When Odjib'wo reached the age of 20 he felt that it was time to begin his chosen career. Accordingly he consulted his cousin Ne'bClncc'kCln (''he who walks by one side of the thing''), a young man about his own age, and they decided to go on the warpath together. They told no one of their intentions, but pretended that they were going on a hunting expedition. With heavy hearts they left the village. They thought of the friends whose deaths they were 1 In order to make this word conform to the music a meaningless syllable (u?a) is inserted. The ChipiMwa custom of changing the words of a song to fit the music is considered in Bulletin 45, p. 14. dbnsmore] CHIPPEWA MUSIC — ^n 69 to avenge, and there was probably in their minds uncertainty regard- ing their own fate. Odjlb'we said that they sang the following song every one of the four nights they camped. The words imply that there were more than two in the party, but, on being questioned concerning this seeming discrepancy, OdjXb'we insisted that this was the song he and his cousin sang. No. 2. OdjIVwe's First War Song (Catalogue No. 371) Sung by OdjIb^wb VOICB J^:= 192 Drum J =108 ( Drum in unaccented eighth notes*) Be - ba - ni - o - ne-yan nin-do - na - gi-mi-gog nl - nl-wdg be-ba-ni-o - ne - yan nin-do- na-gi mi-gog nl-nl-wug e ^ t f U" #f :|g ^ be-ba-ni-o- ne - yan e nin-do-na - gi-mi-gog nl - nl-w^ e ♦ Drum-rhythm etc. WORDS beba'^nio^neyan on the fourth day nindo^nagi^migog^ I am chosen by inl'nlwiig * the men Analysis. — Four renditions of this song were recorded in August, 1909, and it was sung also on two occasions by Odjib'we in March, 1910, all the renditions being identical. The intonation was good throughout the renditions. The metric unit of. the song is very rapid, but steadily maintained. The accents were clearly given and the transcription is divided into measures according to the accented ^bis wordy literally translated " men," is commonly applied to warriors (see p. 187). 70 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 tones. The rhythmic unit varies somewhat in its repetitions, but begins uniformly with a 5-8 measure. In the measure marked 3-4 the metric unit (/==192) is continued, but the rhythm is triple, necessitating a 3-4 instead of a 6-8 time indication. The intonation was good throughout the renditions. Odjib'we's expedition was successful. On the fourth morning the party saw one Sioux and killed him. Taking his scalp, they returned to the village, where a great feast and dance were held in their honor. Odjib'we sang the song of that dance, but the record was not transcribed. The words, however, are of interest as showing the arrogance of the youthful warrior after his first victory. WORDS / nisese^rinawa^ I make him bite the dust Wape^tawaii (Sioux word) * . . . the Wapeton Sioux wabamftg^. when I see him Odjib'we stated that he did not sing his dream song on the expedi- tion which has just been described, nor untU first he was frightened by the Sioux, under the following circumstances: There was a Chippewa camp near the site of the present town of Little Falls, Minnesota. One day two men and their wives started from this village on a hunting expedition. . While the men were away from their camp the women saw two Sioux scouts, and on their husbands' return so reported to them. All started at once to return to the main camp, arriving that evening. One of the hunters told Odjib Ve that the women had seen the Sioux, but Odjib'we thought little about the matter, saying the women were probably mistaken. As Odjib'we was eating his break- fast the next morning a man said to him, ''Let us go and see if there are really any Sioux around." Odjib'we consented to go, but had so little confidence in the truth of the report that he put on his brightest finery, making himself a shining mark. Odjib'we and his friend left the village quietly and started on a run toward the place where the women said they had seen the Sioux, the former carrying his gun on his right arm. Two Sioux were on the watch, and when they saw Odjib'we and his companion approaching, they hid in bushes beside the road; one car- ried a spear, the other a club. Without warning they attacked the two Chippewa. The main body of Sioux warriors then appeared, some 1 "The Dakota call themselves Otceti cakowi" (06eti Sakowii)), The Seven Fireplaces or Council-fires. This designation refers to their original gentes, the Mdewakantonwan (Mdewakai)-toi)wai)), Waqpekute (Wahpe-kute), Waqpe-to-wa^ (Walipetogwai)), Sisito»wa» (Sisitogwai)), Ihaflk-tonwa" (DiaQktoQwai)), Ihafik-tonwanna (Ihagktoi)wai)na), and Titonwa" (Titogwai)). . . . The Waqp©-to»»wa«» or Wahpe- ton [:] The name of this people signifies Village-among-the-leaves (of deciduous trees), the gens being known to the whites as Leaf Village or Wahpeton."— James Owen Dosset, Siouan Sociology, in Fifteenth Ann. Rep. Bur. Amer. Ethn.y pp. 215, 216. DBN8MOBE] CHIPPEWA MUSIC — II 71 armed with spears and some with clubs. Odjib'we's companion was killed, but he himself escaped, running a long distance before he realized that he had a gun. Suddenly a Sioux attacked him with a club. Odjib'we shot the Sioux and then hid behind a great oak tree. According to their custom, whenever a Sioux was killed the other Sioux suddenly disappeared. From behind the oak OdjXb'we could not see a single Sioux. He did not stop to scalp the man he had killed but started for the village. On the way he met some Chippewa and they all went back to look for the Sioux. They could not find any living enemies, but they scalped the dead man. It was during this skirmish that Odjib'we first sang his dream song (No. 1). The following song (No. 3) was composed by Odjib'we after killing a Sioux and was sung by him when carrying the scalp in the victory dance. A small war party was oi^anized by Bft'gonegi'jXg (Hole-in-the- day), OdjIbVe being one of the number. They went to a point on the Minnesota River near the site of the present city of St. Paul and took their position near the road which the Sioux would travel in going from their village to the white settlement. Hole-in-the-day told his men to lie in a row behind a fallen tree and gave strict orders that they should await his signal for firing, that only one man should fire, and that no one should shoot a woman. In silence the Chippewa lay behind the log, waiting for an unwary Sioux to pass that way. Soon a company of men and women came down the path, talking and laugh- ing merrily. The warriors watched their leader but he gave no signal and the Sioux passed on. Later a man came alone. Hole-in-the- day gave the signal to Odjib'we, who fired. The Sioux staggered and fell on his side. Odjib'we rushed forward and dragged the man toward a clump of bushes, but his victiin died on the way. Because he caught the wounded Sioux by the arm Odjib Ve was entitled to wear thereafter a skunk-skin badge on his right arm (see pi. 6; ako p. 62). Hole-in-the-day gave the order, ''Cut his throat at once." This was done, and Odjib'we himself took the man's scalp. The Chippewa then ran down to the river and, entering a canoe, started for the opposite shore. Meantime the sound of the firing had attracted the attention of the Sioux, who hastened from their village, but were unable to overtake the Chippewa. Helpless the Sioux stood on the bank and saw the Chippewa dancing on the opposite shore, waving the fresh scalp, and taunting them. Odjlb'we sang the following song, which he composed at that time. After this dance the Chippewa returned to their home, Odjib'we saying that they ''just kUled that man to let the Sioux know they had been around." 72 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 No. 8. "An Eagle Feather I See" (Catalogue No. 346) Sung by OdjIb'wb Voice J = 100 Dbum J =104 ( Dnun in accented eighth notes*) iiLJLLi i i rrt£rn^^ i Gi-ni-wl-gwtoni-wa - ba-ma toe o-gl-tcl-danin-de - bl - bl-nan mHi^m Q- ^r- i^ ^ m • (Drum-rhythm) a -n n e etc. WORDS gini^wlgwiin' an eagle feather * niwa'lDama^ I see ogl^tclda* a brave ninde^ibina^ I have caught Analysis. — Triple and double measures alternate throughout this song. The first and second measures constitute a rhythmic unit, the tones being those of the major triad of A. In the third and fourth measures this unit is repeated on the minor triad of F sharp. (Com- pare repetitions of the rhythmic unit in No. 5.) The remainder of the song consists of three phrases, each comprising a triple and a double measure; these, however, are not repetitions of the rhythmic unit. The manner in which the rhythm of the rhythmic unit influ- ences the rhythm of other parts of the song is worthy of observa- tion. Four renditions of this song were recorded, the rhythm being accurately repeated. The following song commemorates an incident unique in the annals of Indian warfare, relating to a scalp which was mislaid. Odjib'we was leader of a small war party which went against the Sioux. The Chippewa were hiding in a ravine, when they saw a Sioux coming over the bluff with a gun. He did not come directly toward them, but turned toward a little lake, evidently intending to shoot ducks. He disappeared in the reeds beside the lake, and Odjib'we sent two men to reconnoiter, saying, *'Do not kill the Sioux 1 This refers to the feather worn by a warrior who took an enemy's scalp. (See p. 62.) s From Sioux aki'tita. Cf. pp. 76, 88, 108, 186, 190, 230. DBNSMORE] CHIPPEWA MUSIC — II 73 until after he has shot the ducks." Odjib Ve and the rest of his war party remained in concealment. Soon they heard the report of a gun, indicating that the Sioux had shot the ducks. Then they heard two shots and knew that their men had fired on the Sioux. Their aim was faulty, and the Sioux soon appeared, running toward OdjIbVe and his warriors. Odjlb'we stepped from his hiding place. The Sioux cried, ''You can not hit me. I am a brave man.'' OdjibVe replied, "I too am brave,'' and struck at the Sioux with his gun. The latter dodged and attempted to strike back with his own empty gun. Finally the Sioux started to run away, and Odjib'we shot him in the back. OdjXbVe allowed Mo'kadjiwSns' ("little hill rising up to view") to remove the scalp, and the war party started for home. The scalp was in charge of the man who removed it; when the party stopped for their noon lunch he either laid the scalp beside him or hung it on a bush and forgot it. The scalp was not nussed until the party went into camp at night, many miles from the halting place at noon. It was out of the question to return and find the scalp, so they com- posed this song, which they sang at home in the victory dance. Mo'kadjiwSns' was given credit for taking the scalp, but mingled with the honor was open ridicule for having left it ''hanging in some marsh." No. 4. Song of a Mislaid Scalp (Catalogue No. 387) Sung by OdjIb'we VoicB J—108 Recorded without drum sa s ££# ^ '^JiQ'i S3 8 Mo - ka-dji-w6ns ga ma - ml - jdfl bwan - o - sti - gwCai gi - a - 1 r ^ ^ ' b' r LLa* f ^ go - de ma-na-ki - kifl WORDS Mo^kadjiwSns^ Mo'TcadjiwSns^ (man's name) gama^'mljilfi took bwan^ostigwiin^ a Sioux scalp gi'^agode^ which is hanging ma^nakikifl^ in a marsh Analysis. — ^This is a particularly lively and attractive melody. It is one of the comparatively few Chippewa songs in which there is no change of time^ the triple measure being steadily maintained. It ?4 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 contains eight measures and is divided into four parts, the first three consisting of a rhythmic unit (see Nos. 5, 19, 33, 34). In the last part it is to be noted that the dotted eighth note occurs on the second instead of on the third count of the measure. The song is harmonic in structure and minor in tonality. Six renditions were recorded; these show no variation in either rhythm or melody. The next song concerns a war expedition which was organized by Ge'miwtlnac' (''bird flying low through the rain")/ a member of the Pillager Band of Chippewa (Odjib'we was a member of the Mississippi Band). The Mississippi were not thinking of going to war, but a party of 20 Pillagers came to the village and wanted them to join the party. Ten Mississippi decided to go, as did seven of the Mille Lac Band. All started from Crow Wing in canoes. A few miles down the Mississippi River they made their first camp, and had their first war dance. Odjib'we sang the song of that dance, which, he said, was sung every evening the party was away, but the warrior was feeble that day and the record is not sufficiently clear for transcription. He told of the scene : Some of the men danced around the fire while others sat still; all sang before they went to bed. Early the next morning they broke camp and took their journey through the woods, traveling rapidly all day. When they reached the prairie, they rested in concealment by day and traveled by night. On approaching the Sioux country, they sent two scouts ahead with instructions to return at once and report if they saw signs of the enemy. At this point in his narrative Odjib'we assumed the attitude of a scout, one hand shading his eyes and the other signaling to those supposed to be following (see plate 11, in which his costume, as shown, is not that of the warpath) .^ These men started about dark and traveled rapidly while the others followed slowly. In a short time the scouts came running back. ''What did you see?" asked the warriors. "A wide path," replied the scout. "It is a new traU. The Sioux must have passed to-day." One scout said, "There must have been a hundred;" the other was more conservative, esti- mating the number at forty. It was decided to remain in a little grove until morning and then follow the Sioux trail. In the gray dawn, after cleaning and loading their guns, the Chippewa set out. Soon they came to four lodges made of green boughs where the Sioux had spent the night. Near by they saw the place where the Sioux had been dancing and where a council had been held. Forty-two stones placed in a circle indicated the number of warriors present at this council. While I See pi. 9 of Bulletin 45 and pp. 51, 95, 114, 115 of the same Bulletin. * Of. pi. 14. %f ^m^SBfj* j^m^ if^yigr ^"^w?^ 1 m J I i ODJIB'WE IN POSTURE OF SCOUT DEXSMOKE] CHIPPEWA MUSIC — II 75 looking over the camp, they heard in the distance the guns of the Sioux, who were evidently killing game on the way, and the Chippewa again sent out two scouts, with orders to go along the wooded shore of a long lake near at hand and ascertain whether the Sioux were in the open country on the opposite shore. The main body of the Chippewa followed in the same general direction. Soon they met the scouts coming back with the report that two Sioux were sitting on the other shore of the lake. When the Chippewa reached the place, the Sioux had gone. The Chippewa then very stealthily ascended a hill from which they could see the entire Sioux camp. They decided not to make an attack at that time because, owing to the distance, the Sioux could see them too soon, but to wait until night. The Sioux did not suspect the presence of Chippewa in the vicinity. From their hiding place the Chippewa watched the Sioux cook a meal and later prepare for a night march. Being reluctant to let the enemy escape, the Chippewa sent three of their number to see whether a successful attack on the camp could be made, but the Sioux had gone before they reached the camp. OdjXb'we was one of these three. He told his two companions to stay, saying that he would creep ahead (see pi. 14). After crawling some distance, he got behind brush where he could walk upright. Later he heard the enemy. He kept very stiU. The Sioux were evidently making another camp in the middle of the night, for he heard them chopping wood. He ran back and found all the Chippewa at the old Sioux camp. *^ Why did you not come ? " he cried. ^' We could have IdUed all the Sioux.'' ''We were waiting for you to come back and report,'' was the reply. Then all the Chippewa went forward and sat near the enemy's new camp. They could hear the Sioux singing and dancing. The Chippewa did not sleep, watching and waiting for the dawn. In the first light they saw the Sioux astir. Four Chippewa went ahead to watch at a spot where the Sioux would pass, and when the latter came up, shot one man. That was the beginning of a hot fight, which lasted all day and until after nightfall; it was fought in the open with no protection except the high grass. No bows and arrows were used, both Chippewa and Sioux being armed with shot- guns. The fighting was particularly fierce on both sides. OdjXb'we said that he was obliged to ''dodge and look out all the time," and that in the confusion it was impossible to teU who killed each man. Toward evening No'din ("wind"), the Mille Lac chief, was killed, and the Chippewa could not recover his body. Three Sioux scalps were secured by the Chippewa. After the fight they did not follow the Sioux, but returned home with these trophies. 76 BUREAU OF AMBBICAN ETHNOLOGY [bull. 53 This victory was celebrated by great daaces at which the following song was sung^ the words indicating that the singer would soon go on the warpath again. No. 5. Song^ of an Unsatisfied Warrior (Catalogue No. 391) Sung by OdjIb'we Voice J =88 Drum J = 88 (Drum-rhythm similar to No. 2 ) [5jg^Lj_L4 - / i iJi-Cj' r r 1 1 ^ urxfejj Mi- sft- wa-bftfi-ji bo - zi-yan e a - sa - ktlm -Ig - dji - Wfi TTr'T ' ^^^ cif^ U f-TitJi^ ^ na - dl-yan e WORDS mi^sdwabilfijibo^ziyan^ to-morrow I shall start in my canoe asa^kftmlg^djInaMlyan' although I have one already Analysis, — This song comprises four parts, the first three of which contain a rhythmic unit (see Nos. 4, 19, 33, 34). It is interesting to note that the repetitions of this unit begin on the descending tones of the minor triad. Double and triple measures alternate throughout this song, the rhythmic unit consisting of a double followed by a triple measure. Reference to No. 3 will show an alternation in reverse order, the unit consisting of a triple followed by a double measure. Four renditions of this song were recorded, which are uniform in every respect. The following five songs are connected with the last notable fight between the Sioux and the Chippewa, which occurred May 27, 1858, in the valley of the Minnesota River at the village of a Sioux chief called by the (Chippewa Ca'gobgns (Little Six). The Sioux name of this chief was Ca'kpe * (Six) and as his father bore the same name, the son was commonly known among both Sioux and Chippewa as Little Six. The Chippewa changed the pronunciation slightly and added the Chippewa diminutive termination Sns,^ so that the name became Ca'gobfins.* The white men pronounced the name Shakopee, and a town of that name is now located where the Sioux village once stood. Little Six was a leading warrior and chief of a band amoi^ the Mdewakanton Sioux (see p. 70), and the writer has heard of his fame from Sioux hving at Sisseton, South Dakota, and at Devils Lake, North Dakota. Both OdjXb'we and his friend Niski'gwAn took 1 Pronounced Sha'kpay. * See pp. 186, 190, 230. > Pronounced Sha'gobSos. DBNSMORB] CHIPPEWA MUSIC — II 77 part in the fight and together they related its story, Niski'gwAn also singing two of the songs. R^arding this fight Folwell gives the following information:* The lower Sioux, who late in 1853 reluctantly retired to their reservations on the upper Minnesota, were wont to return in summer weather in straggling companies to their old homes. . . . Shakopee and his band of 150 had early in the summer of 1858 come down and gone into camp near the town which bears his name. One of his braves, fishiug in the river (the Minnesota) at an early hour, was fired upon. Shako- pee's men instantly recognized the sound as coming from a Chippeway gun. They gathered at Murphy's Ferry and, presuming that the hostile shot came from one of some very small party, they let their women put 30 or 40 of them across. They did not suspect that back of the timbered bluff a mile distant there lay in hiding 150 or more Chippeway warriors. . . . They were wary, however, and placed themselves in ambush in a narrow space between two lakelets. The Chippeways . . . charged down from the bluff twice or more, without dislodging the Sioux. The day was not old when they gave up the effort and departed in haste for their homes, carrying their woimded and perhaps some dead. Four of their corpses were left to the cruel mercies of the Sioux. . . . Such was the so-called ''Battle of Shakopee,'' May 27, 1858. An account of the fight from the standpoint of the native his- torian is given by Warren.' Odjib'we's narrative is given below in connection with song No. 8, which concerns the death of a warrior in the engagement. The first song of the group has reference to the war charm worn by the warrior, the song being sung shortly before a fight to make the charm more effective.^ Niski'gwdn said that he sang this song before the battle at Ca'gobSns' village. The last two words wore sung with the repetition of the song, the melody remaining the same. The word "balls" was said to refer to the heads of the enemy, which the warrior would cut off and toss about. Reference is made to No. 35, in which war is compared to a game, the bodies of the dead being its score. The charm usually worn by the Chippewa warrior consisted of the skin of a bird, dried and filled with a medicine known only to the wearer, probably an herb or other substance suggested to him in a dream. (SeeNo.28.) This charm was hung around the neck of the war- rior, who behe ved in its power to protect hun. It was said that if, by any chance, a bullet struck this charm it would kill the man. Accord- ing to Ma'djigi'jig (see p. 84), who made a duplicate of the old war charm (pi. 12), the bird used in preparing this charm was "the smallest of a kind of bird that files at evening;" it was identified by Mr. Henry Oldys, of the Biological Survey, as the kingbird, or bee mar- tin ( Tyrannus tyrannus) . The characteristics of this bird may explain its use by Indian warriors in preparmg a charm. "Nothing can be more striking than the intrepidity with which one of these birds will pounce upon and harass birds vastly larger and more powerful than » W. W. FoIipbU, Minnewta, the North Star State, Boston, 1908, pp. 167-158. 2 History rhy Uim similar to No. 3 ) m i Ki-tcl-mak-wa dU wa - ji-mlg e t9_a^ 1 *1 r 1 ^ i dbnsmore] CHIPPEWA MUSIC — ^H 81 WOBDS kKtcImak'wa large bear niVaye^'jimlg^ * deceives me Analysis, — The rhythmic unit of this song occurs eight times; it is somewhat modified in the last two measures, giving strength to the close of the song. The first two measures constitute an introduction, after which the rhythmic unit is continuously repeated except in the middle part, which contains the words. (See Nos. 1, 12, 13, 30, 39, 40, 81, 105.) The song is major in tonality and contains the flatted sixth as an accidental. The chords of the tonic and submediant form the frame- work of this melody, but the accented A flat prevents the classifica- tion of the song as purely melodic in structure. It is classified there- fore as ''melodic with harmonic framework.'' Two songs were composed concerning this fight and were sung in the dances which followed the return of the warriors. One of these songs recalls the fight beside the river and is said to have been com- posed during the fight. The struggle continued until past noon. Five Chippewa were kiUed and 10 wounded, and many Sioux were killed. No. 9. "On the Bank of a Stream'^ (Catalogue No. 339) Sung by ODJiB^'wE Voice J r= 144 Drum J -104 ( Drum-rhythm similar to No. 2 ) f- A- f- -I*- A a A - ga - mi r zi - bi - wi - c6n eu -da-na • dji-ml-go yan -r:,h r E— f^ :J^|« f -^ — P— f p — -^JglL !!! — 14: ^>^ 14 1 -1 ^ — ^ W^^ m ^=m^^=: fF=f ^ A £ M WORDS ^IL aga^mlzi'T^iwicSn'' across the river en''dana''djimigoyan'' they speak of me as being Analysis. — The ascending interval of an octave at the opening of this song was given accurately in the four renditions. This initial interval occurs in only five other songs of the series of 340 Chippewa songs (see Nos. 170, 174 in Bulletin 45 and Nos. 31, 53, 125 in the ^ One syllable of this word was omitted by the singer. 67996°— Bull. 53—13 6 82 BUBEAU OF AMERICAN ETHNOLOGY [BULL. 5 present volume). The two songs in Bulletin 45 and No. 125 in th present volume are songs of the moccasin game, No. 31 is a war song and No. 53 the song before a boys' fight. The character of thes songs su^ests a correspondence between the mental state of th singer and the initial intervals of the songs. The tonahty of th present song is minor, but the tonic does not appear imtil the nintl measure, the opening being based on the major third, which const] tutes the upper part of the tonic triad. This opening is noted i five other songs of the present series (Nos. 1, 34, 83, 94, 120). Fou of these are songs of war or of dances connected with war and on concerns thimderbirds. In a less marked degree it occurs in the fol lowing songs in Bulletin 45: Mde' songs Nos. 51, 54, 59, 69, 79, sat war song No. 130. At the close of this soi^ we find the progression 8-7-8, whicl represents the descent of a whole tone to the seventh of a minor ke; and return to the tonic. This progression at the close of a son occurs in 9 other songs of various classes of the series of 340 (se Nos. 19, 126, 150 in Bulletin 45 and Nos. 50, 85, 100, 119, 124 of th present volume). This close of a song is frequently foimd in th ancient music of the white race, especially in old English Plain Sonj This melody contains no rhythmic unit, but the phrase in th 8th measure reappears in the 14th and in part of the 15th measur with a change of accent, a variation which gives character to th rhythm of the song as a whole. The metric unit was maintaine with less regularity in this than in the majority of the songs. The second song concerning this fierce fight calls to mind the grie of the Sioux. Odjlb'we said he remembered the Sioux women fol lowing them across the river, crying, and cursing the Chippewa. No. 10. **At Ca^gob«ns' Village" Sung by OdjIb^'we (Catalogue No. 33; Voice Jrz 100 Drum J— 108 ( Drum-rhythm similar to No. 3 ) ^iS $^ £ ^i^ & *=t Ca - go - b6ns o - do - de - nafi ma - wi - wtig e 1 - ni - nl - wtg 'jt^Tft^ir^ ^ tpS 3 :M=ht BUREAU OF AMiFtlCAN BULLETIN 63 PLATE 13 MEJA'KIGI'jIG 1 &f£^r. RECOUNTINQ THE TAKINQ OF THREE SCALPS MA'OJIGCJiQ c^ 84 BUREAU OF AMERICAN ETHNOLOGY [bull. 53 kill a Sioux. The older people told him to "go to sleep and be good/' but his young mind was filled with thoughts of war. He refused food, not going away from home to fast, after the custom of older boys, but remaining in the lodge. At length he dreamed that he shot a Sioux. Again he dreamed that his hair was gray and, pointing to his flowing locks, slightly streaked with gray, the old chief said that his dream had come true, for he was attaining the allotted age of man. Later, without leaving home, the boy fasted five days and five nights, hoping for further dreams, but none came. In the following spring he went away from home to fast. A few years had passed since the little boy could not "go to sleep and be good,'' but the purpose of his life had not changed; it had deepened and grown more serious. The birds were just beginning to come when he took his way to the "wilderness." Selecting a large tree, ho built in it a "nest" for himself, in which he remained without food day after day. At last, on the fifth night of his fast, he dreamed that ho held throe scalps in his hand. Then he was sure of himself and of his career. With confidence he joined the warriors, and his faith in his dream remained unshaken and at last the day came when he held aloft three Sioux scalps. Thus the boy, grown to manhood, avenged his father's death accord- ing to the custom of his people. THE TRAINING OF YOUNG WARRIORS (By Ma''djigi''jIg) MaMjigi'jIg ("great sky") was a young man when the war parties swept across the prairie. His personal reminiscences were not those of a leader, but he recalled with distinctness the trials which fell to the lot of a recruit. Later he served many times as a scout, and, as a warrior, secured three Sioux scalps. In plate 14 he is represented in the attitude of a scout on the prairie, holding a wisp of grass or bit of brush before his face, and also as telling the story of the three scalps. According to Ma'djigi'jXg, "the old warriors treated the beginners as though they were nothing but animals." The young warriors camped a few rods in the rear of the rest of the war party, and united with tlio main camp only when near the enemy. The recruits slept in little shelters, or booths, which they made of boughs, two men in each. The older warriors had plenty of food and even were allowed to eat fat meat, while the recruits were given scanty rations of ^nld rioo, either parcheil or only partially cooked, and seasoned slightl}' with maple sugar. Sometimes they were given dried fish or tough smoked meat and occasionally lean fresh meat hardly seared before the fire. BURiAU OF AMERICAN ETHNOLMV ULLETtN S3 PLATS ,. 1 f- ^ ta ■ ^r^' lHlnKi iM^ ^ H m sittik^^^ta fe*^'^ ^ ■ EH B^^jl^ "ji ' ^i H ij^MJ^Kiiiiitt?^ -.-.oiiii i^H M POSTURE OF LI RECOUNTINQ THE TAKINQ OF THREE SCALPS MA'DJlQI'JlQ DBNSMORE] CHIPPEWA MUSIC — II 86 When deer or other large game were killed by the warriors it was customary to hold a ^^breaking-bone contest'^ in the camp of the recruits. This was conducted as follows: A marrow bone (usually the leg bone) was laid on the ground. The man who intended to test his skill took his place beside the bone and then walked eight paces av ay from it. He was then blindfolded and, hatchet in hand, walked ward the bone. When he thought himself near it, he struck at it witl his hatchet. MaMjigi'jIg illustrated this for the writer, but age had ^ hortened his steps and, blindfolded, he did not measure the distance correctly. In the old days the man who cracked the bone with the first blow of his hatchet hastened to carry away the spoils; after being cooked the marrow was removed by means of a stick made for the purpose. This was the only way in which a young warrior on his first expedition could secure a taste of fat. He was not given the prize unless he succeeded in actually breaking the bone, and much merriment resulted from the misdirected efforts of many of the young men. On their first war party men were required to put mittens on both hands when they left the village and to wear them until they entered a fight with the Sioux. These mittens were tied securely at the wrist, from which a small stick was hung; this the recruit was ordered to use in scratching his head or body. Failing to do this, on reaching home he would *' break out with boils on his whole body.'' Some recruits refused to wear mittens or to use the *' scratch stick," and MaMjigi'jIg recalled one instance in which a man became covered with sores to so great an extent that he could scarcely reach home. The old man gave as a reason for the regulation that the recruits lacked the protective medicines carried by the warriors. Many rules were strictly enforced in the recruits' camp. Care was taken to avoid stepping over any article belonging to another. Thus if a man stepped across another's gun he was chased and severely punished by the owner of the weapon, as such action was supposed to render it useless. It was considered a bad omen for a recruit to see a snake. MaMjigi'jIg related the story of an attack on a Sioux village, which took place during his first war expedition. At dusk the leader of the party sent several experienced men to recoimoiter. Under cover of night they approached the Sioux village, counted the tipis, and esti- mated the numT^er of warriors. Soon after midnight they returned and made their report. Preparations for a march were begun at once and just before daybreak the Chippewa drew near the Sioux village. The leader then called for the wind and the wind came. The Sioux heard the wind singing through the tipi poles, and the flapping of the tipi canvas, but they did not hear the soft tread of the (.^hippewa as the latter entered the camp. The Chippewa lowered 86 BUBEAU OF AMEBIGAN ETHNOLOGY [bull. 68 their guns, airaing at the places where the Sioux lay asleep. When all was ready one of the warriors blew a quavering note on a tiny whistle; like the call of a waking bird. At this signal the Chippewa fired and then rushed at the tipis, tearing them down and killing as many of the wounded as possible. With a quick slash they severed the head of a Sioux from his body and ran away with it, removing the scalp afterward. Three or four scalps were sometimes cut from one head. The term ^' scalp lock/' however, was applied to the lock situated just back of the crown. As this is the only spot at which the scalp adheres closely to the skull, the scalp lock is especially diffi- cult to remove, but a skillful warrior could do so with one motion of his knife. He then slipped the end of the hair beneath the string which held his breechdoth, and the scalp dangled at the victor's ^ide. If a war party ran short of provisions the leader selected a place to camp, near a lake. . He smoked his pipe, sang his dream song, and smoked again. At length he pointed in a certain direction and said, *'A deer is coming there; it is sent to you." Thus the camp was supplied with meat. MaMjigi'jXg said he had known this to occur many times. He stated also that, before attacking a Sioux village, the leader of a war party frequently *' called on the thunderbird to send rain,'' in order that the Sioux would remain at home, not chang- ing their camp or wandering in the vicinity, where they might detect the approach of the Chippewa. THE WAR BADGE (By A''kiw£n''zi) A'kiwSn'zi C'old man") wore proudly the double insignia of his success as a warrior — feathers in his headdress and skunk skins attached to his ankles (pi. 15). Even at his advanced age he was so lithe and agile in the dance that one could readily * believe his state- ment that as a warrior he was distinguished for fleetness of foot. Two of his war-honor feathers were won at the memorable fight at Ca'gobSns' village (see p. 79). After that fight there were many dead and wounded Sioux lying on the ground. He kicked one of the latter and thus won the right to wear a skunk skin at his ankle. Later, as a member of a war party which pushed far into the Sioux country, he killed a Sioux near the site of the present Sisseton, South Dakota, afterward kicking the body of the slain; thus he won the right to wear his third war-honor feather, and the other skunk skin at his ankle. In June, 1911, A'kiwSn'zi was living on the White Earth Reservation. There he and his war comrades frequently joined in social dances with their old enemies, and again smoked the pipe of peace with the Sioux. BULLETIN 53 PLATE 15 DESCRIPTION OF CHIPPEWA WAR EXPEDITION, WITH TYPICAL SONGS Every phase of a war expedition had its appropriate song, from the announcement of the leader's plan to the close of the victory dances. Songs Connected with Organization of War Party The warrior who wished to lead a war party sent an oc'lcdbe^wis (messenger) with tobacco to ask the warriors to join his expedition. The messenger went to each village and requested the warriors to assemble; he then explained the purpose of the expedition, filled a pipe with apak^osigUn' (a mixture of tobacco and the inner bark of the red willow), and, holding the bowl of the pipe, offered the stem to one warrior after another. As he did this he sang the song which follows. All who were willing to join the expedition so signified by smoking the pipe. No. 11. Song of the War Messenger (Catalogue No. 358) Sung by OdjIb^we Voice J =100 Drum J = 92 ( See drum-rhythm below ) ^^ ^U^^ m^ M^m Bl - da - ko - na - mia - wl cin no - sis nln-do - pwa^On ^^ 4=. 9S -»- -m-' -0- ■*■' ^ mbT W^=^ m bl - da - ko - na - ma - wl - cin no ' sis nin-do - pwa-g^ ^^ hak. T^T ^=^ S^^ bi - da - ko -na - ma- wl - cin A tit m no - sis nin-do - pwa -giln c bi - da- ko-na-ma-wl - cin Drum-rhythm no- sis nin-do -pwa-g^ 8- 8 8- -8- etc 'SI 88 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 WORDS bidako'^namawlcin^ come and hold ninMopwa^giin my pipe no^da my grandchild Analysis. — The drum-rhythm of this song is unusual; it consists of an accented stroke followed by a short unaccented stroke correspond- ing to the second count of a triplet. The metric unit of the drum is slightly slower than that of the voice. Four renditions of the song were secured, tliroughout which the rhythmic unit was maintained with great regularity, though the intonation varied perceptibly. The tones of the melody comprise only the minor third and fourth, the principal interval being the descending minor third. The song contains a rhythmic unit, which occurs four times, constituting the entire melody. After the smoking of the pipe the oc'kabe'wfa returned to the man who wished to organize the expedition and reported his success in the foDowing song. No. 12. Return of the War Messenger (Catalogue No. 359) Sung by OdjIb^we Voice J— 192 Drum J = 100 ( Drum-rhythm similar to No. 11 ) fffe r -I r T P — ^ jjmm ip—t Jj J^j ll U i ■^ — ^ — O - gl- tcl S S S 'i^ n i daft i - jl - na - gA - zi - w% be - zi-gwi ^ mr mi{' M=^\r^^ ^=^m 2 J i i a ^ djig 1 - ni - ni-w% e WORDS ogi^toldaii like warriors ijina^giiziwdg^ they look be'^zigwiMjig who arise rnVrAwd^ those men Analysis. — This song is divided into four parts, the first, second, and last of which contain the rhythmic unit, while the words occur in the third part, which has a different rhythm. (See Nos. 1, 8, 13, 30, 39, 40, 81, 105.) The drum-rhythm is tlie same as in the pre- densmobb] CHIPPEWA MUSIC — ^n 89 ceding song. The descending interval of the minor third occurs fre- quently, and the song is distinctly minor in tonality. In a short time the warriors arrived and camped near the lodge of the leader. A feast was given by the leader, at which he explained more fully the proposed expedition, asking for a final pledge from the warriors. All who were satisfied with the plan responded with He he Jiej and the expedition was considered formally inaugurated. The leader then said, "We will have the first dance to-night, and we will dance every night until we reach the enemy." According to OdjlbVe the foDowing song was usually sung by the Mississippi Band of Chippewa at this initial dance (see also No. 81). No. 18. "I Feel no Pear" Sung by OdjIb^'wb Voice Jzh 160 Dbum J =104 ( Drum-rhythm similar to No. 3 ) (Catalogue No. 328) t^ t-- t ^^^ w^- f ' ^ f T^f t £ Ea ' win nin - ca - gwe - n! - mu - si ka - win nin - ca - g^ m "ar t ba || m gwe-nl-ma- si ka-win nin-ca ~- gwe - nl-mu - si kl-tci- zi - bi- wi-nl- nl ni-bo-In wa-ya- win-dr-gin « ka - ^^ J2|2ft t p p p\ff » •' U p^f ^T T" P^^ ^ P P \ P t win nin-ca - gwe- nl- ma - A ka -win nin-ca -gwe- nl-ma -si ka- 1 r £^ t ^m 1 I win nin-ca - gwe - n!-mu - si ka-wIn nin.ca - gwe - nl-mu - si WORDS kawin^ 1^, , , , y ., \ 1 feel no fear nincagwe^nlmufli' J Kltcizi'T)iwinI^nI when the Great River man * nibo^ death waya^wind(in' speaks of 1 The " Great River'' was the Mississippi, and the term " Great River man" lefierred to a member of the Mississippi Band of Chippewa. * The last syllable is divided and also changed, to fit the music 90 BUBEATT OF AMEBICAK ETHNOLOGY [BULL. 53 Analysis. — ^This is the first song recorded by Odjlb Ve. Four ren- ditions were secured and found to be uniform. The first two were without the drum; these were followed by a pause, during which it was explained to the singer that the drum was desired; he then resumed his singing with the accompaniment of that instrument. On com- parison it is foxmd that the pitch and metric unit of the two parts of the record are identical. This ability to resume his song in the same tempo is the more interesting when we note the discrepancy between the metric units of voice and drum. The rhythmic unit occurs six times and is interrupted only by the change of words. (See Nos. 1, 8, 12, 30, 39, 40, 81, 105.) In this part of the song there is no decided accent and the enunciation of the words resembles rapid speech. The excitement of the song centers in these words, given on a high tone, descending in the next phrase to the flatted sixth, the accidental most frequently found in Chippewa songs. The flatted seventh also occurs, which strengthens the phrase. The song is grim in its suggestion, yet it is major in tonality and cheerful in its rhythm. The following song was sung at the dances preceding a war expedi- tion. It contains the name of a man who once stayed at home, and was intended to shame all who, without proper excuse, failed to join the warriors. No. 14. <Cf. George Earl Church, Aborigines of South America, London, 1912, p. 284: [Among the Pampas Indians the wizards] " used the maracA [rattle], which they said told them many secrets and made all they said oracular.'' DENSMOBB] CHIPPEWA MUSIC — ^n 95 The following song was said to have been sung by the leader every night while on an expedition. No. 18. Song of the Leader Sung by ODjiB''wB (Catalogue No. 343) VoicB J ^104 Drum J =104 ( Drum-rhythm similar to No. 16 ) A-ni de-ba - biUi-da-man a - ki toe a-ni de ba - b^-da- P s -(5^ i IPI ^ man a - ki we na ga - ki §n - i - go - kwag ga - kl - m)^£jM J^ 1 r ^ a na a - ni de ba - bdn - da -man a - ki we a - ni de - a a^ r r J I r ^ S j i n \ .i II ba-b^-da-man a-ki we a- ni de -ba - bila-darman a-ki we WORDS ani^. as deba^D Andaman'' I see aki'' the earth gakl^na Sn^'igokwag^ [the whole compass of it Analysis. — The transcription of this song is from the first of four renditions, which differ only in the intonation of the tones marked. These tones are given with what might be termed a "toss'' of the voice. Thus the third tone of the song is sung in one instance almost as high as G flat. There is an evident intention to lower slightly the i\ext to the last tone of the rhythmic unit, but the interval is not definite. The close of the last phrase is given with more accuracy than the preceding, although the low pitch of the tone makes it more diflBcult to sing. The rhythmic unit occurs six times, its repetitions comprisiog the entire song. An additional quarter note is inserted after the second and fifth repetitions; this is found in all the renditions and adds 96 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 interest to the rhythm of the song as a whole. The metric unit of voice and drum is the same, the voice slightly preceding the^drum. The following song was sometimes sung by a leader and was also used by oc'kabe'w!s and by scouts (see No. 82). This is a dream song and was always sung by men who were alone, never at the dances. No. 19. "I will go to the South" Sung by OdjIb^we (Catalogue No. 333) VoicB J- 112 Drum Ji^112 ( See drum-rhythm below ) Nin-ga - dl - ja ca - wtn - ofig nin-ga - dl ja ca - wtln- oflg a nin-ga - dl ja ca - wtln - ofig nin-ga - dl - ja ca - wtin-ofig a nin-ga-bl - don ca-wtln - i - no - din nin-ga-di - ja ca-wfin-ofig nin-ga - dl ca - wCLn-oflg e Drum-rhythm -8 —3- liLl. -3- s etc. WORDS nin^gadlja'' I will go ca''w — htf^ qt£j^-[Q| B! - ti-go-ckacmok gi - ta - ki - mi-nan bl - ti -go-cka-mok ^ ! t>i^ r ir ^^=$^-^^= ^ i— I I I S I \-^J-^^ j^W= \ \ 4. I — I ^i=i gi - ta-ki-mi - nan e bl - ti-go-cka-mok gi - ta - ki - mi-nan ^^^ fe=R- R •TSf- i -^ — # ta ^ -^ bl - ti - go - cka-mok gi - ta - ki - mi - nan g^j mxig ^ ^^ i=£=£ 4 — • ->*"= — ="^ tS*- i»- we-wa - gi - wl - nl bl - ti - go-cka-mok gi - ta - ki - mi-nan e 1 r -<5>- W =^ P ^ bi - ti-go-cka-mok gi - ta-ki - mi-nan e we - wa - gi - wi - ^ -*9- ^: S m h ic^ B^ in^ nl bl - ti - go - cka-mok gi - ta - ki - mi - nan WORDS bl'^tigo^'ckamok^ strike ye gi^takiminan'' our land wewa^'giwlnl'' with curv^ed horns Analysis, — The descending interval of the fourth is especially prominei^t in this melody (see analysis of No. 22). The first five measures comprise the rhythmic imit, which is well adapted to the expression of the words. This rhythm, combined with the peculiar melodic outline, causes the song to produce an effect of rugged strength. During the preparation of mX'nisInoVtlck ("island herb medicine'*) and also before a battle the following four songs wore sung by the DBNSMOBB] CHIPPEWA MUSIC — ^n 108 warriors to make the medicine effectual as a charm. This group of songs was rendered by Na'waji'bigo'kwe C woman dwelling in the midst of the rocks'')- No. 24. First Song of the MrnMno^wack Sung by Na''waji''biqo^kwb Voice J =69 Dhum J— 108 ( Drum-rhythm similar to No. 2 ) (Catalogue No. 373) Ka -ga - gi- wi- wan nin - dau ba-on - dji - o-non - ge - * 0f i0- ?f^^w^m ^m wi - hi- yan ka - ga - gi-wi- wan nin-dau ba-on - dji - o-non-ge - wi - yan WORDS kaga''giwiwan^ nindan ba''ond ji^nongeyan'' . [Froo translation] light as a raven's feather is my flight Analysis. — This melody was sung very slowly with a rapid drum- beat. The song is harmonic in structure and contains the tones of the fourth five-toned scale. The rhythmic unit does not vary in the four renditions of the song, but there is a slight variation in unimportant melody progressions. Attention is directed to the register of the woman's voice. Several other phonographic records made by Chippewa women show the same register. All the songs of this series close with the ejaculations We ho ho ho, which characterize also the Aflde' songs. 104 BUREAU OP AMERICAN ETHNOLOGY [BULL. 53 I I I I I No. 25. Second Song of the Ml^nledbio^wHek Sung by Na'waji^bigo^kwe VoiGB J — 152 Dbum J = 92 (Drum-rhythm similar to No. 2 ) (Catalogue No. 374) ^^ Gi - jig 6-yo-Ao-n2-^ gi-jlg (^'jo-ko-nH-hi ^m -0- r l t^±Jt2± gi .jig fi- yo - ho-nS - AS h^ gi - jig ^'jo-ho-rU - A2 ^'i AI i v^ ^* 1 f^^F— F gi - jig 6-yo - Ao-nS - W gi - j% 6 - yo - Ao-n^ - kS gi - jig 6-yo-Ao-n2 - AS AS gi - jig 6-yo -Ao-nS- AS gi - jig 6-yo-Ao-nS - AS gi - jig 6 -yo- Ao-nS - AS gi - jig 6-yo-Ao-nS - AS WORDS gi''jlg the heavens g-'yoyan''* I use Analysis. — The words imply that tho heavens are secured as a defense by the singer. In all the renditions of this song the drum is struck after the melody tone is sung. This gives an eflfect of great irr^ularity to the performance and also shows the independence of vocal and instrumental expression. The rhythmic unit, which is accurately repeated, occurs 1 1 times. The double measures vary in length and apparently serve as resting places for the voice. 1 See footnote 2, p. 89. DENSMOBB] CHIPPEWA MUSIC — ^n 105 No. 26. Third Song of the MFnlsIno^wtick Sung by Na^waji''bigo^kwe Voice J , = 76 Kecorded without drum (Catalogue No. 375) ^m 1 r ^^%^^^m t Ga-ml-no- gi - we - pu- ^ -ya- ne m ga - ml-no- gi - we - p& -ya - ya - ne g I 1 r 1 f- ^^ -(9- ^^ ga - ml-no- gi - we - pd-ya - ya -ne ga - mi-no -gi - we - pd - ya- ya - ne WORDS ga''mInogiVep. The melody is strongly harmonic in feeling, although classified as melodic because of tlie accented B fiat. The difference in intonation between tlie first and second E flat in measures 1 and 3 is interesting, as it appears in all the renditions. The song contains ten measures and is divided into four parts. The metric unit is slower than in most Chippewa songs. A slow metric imit is found in other songs of self-control under excitement (see songs Nos. 51, 52, 103, 161). As a rhythmic whole tliis song is particularly complete and satisfactory. During a fight a man frequently sang his dream song or a song which he had composed concerning a former victory. OdjXb'we stated that in time of great excitement a man would sing louder but probably no faster than was his usual custom. It is said that the following song was composed and simg on a field of battle by a woman named Omiskwa'wegi'jlgo'kwe ('Svoman of tlie red sky"), the wife of the leader, who went with him into the fight singing, dancing, and urging him on. At last she saw liim kUl a Sioux. Full of the fire of battle, she longed to play a man's part and scalp the slain. Custom forbade that Chippewa women use the scalping knife, although they carried the scalps in the victory dance. I densmoue] CHIPPEWA MUSIC — n 111 No. 81. If I Had Been a Man Sung by OdjIb'we (Catalogue No. 349) Voice J = 76 Drum J:iz92 ( Drum-rhythm similar to No. 2 ) A - pi - dftc i - nl - nl-yan - ban ke - gSt i - nl-nl nin - da - gi - ta-bi - bi - na WORDS api''d0c at that time inini^'wiyanban * if I had been a man keg6t' truly inl''nl a man nindagi'^tabibina'' I would have seized Analysis. — The first progression of an ascending octave, followed by a descent along the tones of the tonic chord, characterizes this melody (see analysis of No. 9). The harmonic feeling is strong throughout the song, the accented C in the sixth measure being the only departure from the tonic and submediant chords. There is no rhythmic unit, but the rhythm of the song as a whole is complete and satisfactory. Three renditions of the song were recorded. In each the tempo was more rapid and less regular in the four measures following the words, returning in the last two measures to the metric unit of the beginning. This unit is slow, as in other songs of self-control. The more rapid and free rhythm of the middle part is the more inter- esting if considered in connection with the words and origin of the song. Other songs composed by women are Nos. 39, 40, 112, 127, 151, 177, 178. When a Chippewa shot a Sioux he shouted, " I have killed a Sioux," and others took up the call, adding the victor's name. Thus other warriors were nerved to renewed endeavor. After the fight the 1 A syllable is omitted to make the words conform to the mnsle. 112 BUREAU OF AMERICAN ETHNOLOGY [BULL. 63 names were remembered, and the warriors were given proper credit. In the old days each warrior marked his arrows, hence it could usu- ally be determined by whose hands the slain fell; but after the intro- duction of guns it would have been impossible to ascertain who had killed the Sioux unless the call above mentioned were given during the engagement. It was not unusual for a warrior to sink exhausted during a fight. This misfortune once befell OdjXb'we, and the incident was related by his friend Niski'gwAn, who was present on one occasion when OdjXb'wo was recording songs on the phonograph. Niski'gwftn was with Od- jXb'we in many of the contests with the Sioux. Niski'gwftn stated that on one occasion Odjib'we went into a fight without his "medi- cine." The fight had scarcely begun when Odjib'we appeared to be almost paralyzed. He was not able to strike a blow in his own defense and would have fallen an easy prey to the Sioux had not Niski'gwftn rushed to him and given him medicine from his own bag, mixing it with water. Niski'gwftn also sprayed the medicine on OdjXb'we's feet and limbs ynth a wisp of brush. This revived him and enabled him to rise. Soon he was entirely himself and the fight was won, the Sioux village being captured. Niski'gwdn stated that he sang the following song when he applied the medicine. No. 32. Song of Help in the Fight (Catalogue No. 385) Sung by Niski^'gwCn Voice J =144 Drum J =108 ( Dmm-rhythm similar to No. 2) r S% t=t b^. ^ £ t r - r r-t M^c-ko de a - kiil we-yan-e ba • si - gwi-yan e m rf^^^Tffc r i ia r r If r i r mdc - ko de a - kiil we - yan - e ba - si - gwi-yan e m f- 4- i T t l^=MtZ[p3 mdoko de a - kiil we - yan - e WORDS mftckode^ the prairie akin^ land woyan''eba''8igweyan'' whence I arise ba - si - gwi-yan 6 DBNSMORB] CHIPPEWA MUSIC — ^n 113 Analysis. — Four renditions of this song were recorded, in all of which the final word was mispronounced, this license being allowed in Chip- pewa songs. On the octave and fifth the intonation is fairly correct, and these tones were sung firmly; the other tones are variable in pitch, and the transcription should be understood as approximate. The signature is that of the key of D, as both F sharp and C sharp occur in the melody, but the "sense of key" is not clear. It seems probable that the singer's recollection of the song was not quite dis- tinct. The rhythmic unit contains seven measures, and its repeti- tions comprise the entire song. The framework of the melody is the descending interval of the fourth, a peculiarity which is fuUy con- sidered in the analysis of No. 22. While this is not an inspiring mel- ody, there is something in it deeper and stronger than enthusiasm; there are steadiness and control. Strongest of all is the idea of the words — the picture of the prairie, calm in its consciousness of power. The following three songs relate to one of OdjXb'we's war expedi- tions and illustrate the singing of a death song and the composing of songs concerning a notable victory. TTiese songs are connected with an expedition against a Sioux village called Gaye'dawima'miwdfi (''lake in the valley"), which was located on the upper waters of the Minnesota River; its chief was known among the Chippewa as Manda'mlnfis (Little Com). A war party of more than a hundred Chippewa attacked this village and the first man killed was the Sioux chief. During the fight the Sioux women rushed out and dragged back the wounded men that they might not be scalped. Although seven of their number were killed the Chippewa would have been victorious had not a large party of Sioux come on the field from a distance. Finding themselves out- numbered, the Chippewa began to retreat. The Sioux used poisoned arrows. One of the Chippewa warriors was wounded in the foot by a barbed, poisoned arrow, but his friends were able to carry him away. The Sioux followed the Chippewa a long distance and many of the former were killed in this running fight. Name'bings' (Little Carp), a leading warrior of the Chippewa, was terribly wounded in the abdomen. His retreating comrades tried to take him with them but after a time, realizing that the attempt was useless, at his own request he was laid in a clump of bushes. There his friends left him with his gun, saying, "Defend yourself as best you can.'' Soon the Sioux came in hot pursuit of the Chippewa and from his hiding place Name'binSs' shot a man. With ebbing strength he gave his last war whoop and his friends heard him cry, "Men, I have killed a Sioux." When Name'binSs' was laid in the bushes he sang his death song, which he is said to have composed at that time. Looking into the faces of his comrades he said, "When you reach home sing this for the women to dance by and tell them how I died." 67996'— BuU. 53—13 8 114 BUBEAU OF AMERICAN ETHNOLOGY [BUL.U 5S No. 88. Death Song of Namea)ines^ (Catalogue No. 335) Sung by Oi>rfB''wK YOIOB J=:104 Drum J'=:104 (Drom-rhythm similar to No. 2 ) Ni - ma - ji^maurdls ni - ma - ji-man-dls nim - bi - dji-man-dlB nlm - bi-dji-man-dls nim - bi-d ji-man-dls S - na - su-mi - ka-yan e WORDS nima'^jiman^dis the odor of death nimbi'^djiman'^dls I discern the odor of death fina^'sumi^kayan'' in the front of my body Analysis.— Ten renditions of this song are on the phonograph cylinder, the transcription being from the eighth rendition. The words vary in the several renditions, sometimes only one word being used or meaningless syllables sung. The principal variation in intona- tion is on the tone A in the second measure. The intonation of the last three measures is uniform and the rhythm of the entire song shows no variationl The song contains a short rhythmic unit, which occurs five times without interruption. The last three measures are iii a diflFerent rhythm. (Compare Nos. 4, 5, 19, 34.) In these measures the length of the tones is unusually regular and the voice and drum exactly coincide. The structure of this song is interesting. The accented tones follow the intervals of the triad of A minor and the unaccented tones in the fourth and sixth measures introduce the chord of C major, the song being in the major key. Thus the first two measures are on the chord of A minor and the next two measures on that of C major; then follows a measure in A minor (without the third), giving way again to C major in the last three measures. This alternation of minor and major is worthy of special note in connection with the origin of the song. (See No. 128.) At the first camp after this fight the Chippewa composed a song, the words of which refer to the Sioux women who came from the village to drag back the wounded men. densmoubJ CHIPPEWA MUSIC — n 115 No. 34. ''The Sioux Women Gather Up their Wounded" Sung by ODJis^WE VOTCB J = 100 Dbum J— 108 (Drum-rhythm similar to No. 3) If (Catalogue No. 336) O -ma-mi-kweg o ya ne pa-ba - ma^-de - mo-w{Lg e o-na-dji - ^-^ ^ i ia ^ i^ ^g ir da - ba - ma - wtUi e o - di - ni ni - mi-wtin e a-ni-mO- ^ n i p^ ^ i=± ±=M: ^^^^ de - mt - wfig e WORDS Oma'mikweg' the Sioux women paba'made'mowiig' pass to and fro wailing ona^djida^amawiin^ as they gather up o''dinini''miwihi their wounded men ani^mdde^mdwiig^ the voice of their weeping comes back to us Analysis, — Six renditions of this song were recorded, the transcrip- tion being from the third rendition. The rhythm and the melody- tones are the same in all the renditions but the words vary slightly, affecting the length of the tones; for instance, the word meaning ''village" is used in one rendition and the order of the words is some- times changed. The tonality is minor but, as in many similar songs, the tonic does not appear in the opening measures. (See analysis of No. 9, also of Nos. 1, 83, 94, 120.) This song contains a short rhythmic unit which is repeated without variation except for the addition of a quarter note after the second occurrence of the unit. The closing measures are in a different rhythm (see Nos. 4, 5, 19, 33) and the rhythm of the song has a well-defined individuality. The interval of the fourth is especially prominent. (See analysis of No. 22.) On their homeward journey the Chippewa composed another song. Remembering the tread of the pursuing enemy, they sang of war as a game with the bodies of the dead as its score. 116 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 85. ''They are Playing a Game" (Catalogue No. 342) Sung by OdjIb^we VoiCB J =104 Drum J =104 ( Drum-rhythm similar to No. 15) ^ ^jt -^ ■^-^t ■# ft i Ga - bi - mi - bi - di - kweg mdc - ko - dehg bi - mi - & - ta - '^tFS^F Tg^ -•— 1-«> ".1 f t=t^ ^^ di - wflg e i - nl - nl-wftg e ga-bi- mi - bi - di-kweg mdc-ko - deiig bi- mi - & - ta - di-wdg e i - nl - n!-wOg e ga- bi - mi - bi - di - 1 gj^^^-jj- J^ i nj l nj l .nn i kweg m^c-ko-de£ig bi-mi- a-ta- di-wtlg e i - nl-nl-w0g e WORD8 gabimi'Tbidikweg^ the noise of passing feet miic^odeng' on the prairie bimi-'atadiwiig^ they are playing a game as they come inl^'niwiig' those men Analysis, — This' melody is based on the tones of the mmor triad, the sixth being used as a passing tone and occurring only once. The song contains a rhythmic xmit eight measures in length, which occurs three times, is accurately repeated, and comprises the entire song. It is worthy of note that the song contains only one upward progres- sion; this occurs between the second and third sections of the song. The compass of the song is imusual, as it begins on the tenth above the tonic and ends on the fifth in the octave below the tonic. Four renditions of the melody were recorded; the intonation of the tones marked — is xmiform in the several renditions. Odjib'we stated that on one occasion a warrior sank exhausted as the war party was returning home. The other warriors, reluctant to leave him a prey to some wandering enemy, stayed with him. It seemed impossible for him to rise. However, he used his medicine, and after a time sprang to his feet, singing this song, which he com- posed at the time. The war party resumed its journey, and he accompanied them, still singing his new song. DENSMORB] CHIPPEWA MUSIC — ^n 117 No. 36. Song of the Exhausted Warrior Sung by OdjIb^we Voice J=r84 Drum J -104 ( Drum-rhythm similar to No. 2 ) (Catalogue No. 367) i^ ^ Sfc r ^ I f f ^ r V- i Ba - ba - pi - nl - si - wa - gftn ge - non -de - ci - nau i e ba- ba - pi-nl - si-wa-gtin ge-non-de - ci-nan "ir ^^ * s OMtJr: e nin - ga - a - da - wofl- g6 - y6n ^ ge - 5n-dji- da-go - t ^- \ n fff j - ^ n n J [| ci-nan e ge- dn- dji- da - go ci-nan e h>it^-f :j I J^ J I cj r:^-!^^ WORDS baba''piiil^siwa''g(in alas genonMednan'' I can not travel ninga^adaVo^gn^^ but I will borrow that ge6ndji''dago''cinan^ by means of which I can arrive Analysis. — ^Three renditions of this song were recorded; these are uniform in every respect. This uniformity is of interest, as the rhythmic miit is long and irregular; it occurs three times without variation. The remainder of the song contains fragments of the unit, but no complete repetition. The song is minor in tonality and is characterized by the sharped seventh, which is found but rarely in the minor songs imder analysis. By this accidental the song is more fully identified with what is commonly termed the minor scale. The relation of the rhythm to the content of the song is worthy of note, the effect of perturbation in the first part of the song being con- trasted with the more regular rhythm of the latter part. > Whefe no words appear in the music above, meaningless syllables were sung. * A syllable is added to this word to make it conform to the music. lis BUREAU OF AMERICAN ETHNOLOGY [buli.. 53 Songs on the Return of a Victorious War Party On returning, a victorious war party sent runners in advance to carry the news of their approach, and preparations for a suitable reception were begun at once. Meantime the warriors made their last camp before reaching home; here they rehearsed the songs con- cerning the victory and arrayed themselves in their finest apparel. Then began the final stage of the journey. As they approached the village they fired guns as a signal and the women came out to meet them. One woman led the party, to whom were given the scalps taken by the warriors. Each scalp was dried, and fastened inside a hoop at the end of a pole. Occasionally several were fastened in the same hoop, (see pi. 17, showing five scalps in a decorated hoop). Frequently a man jgave his wife the Sioux scalp he had taken. The women took the warriors' blankets, beadwork, and tobacco bags^ and even their guns, none of which were they required to return. Then the women led the procession, the scalp bearers in advance, waving the scalps and singing. After the party reached the village preparations for the victory dance were begim. A suitable place was selected, to which was carried a large quantity of food — dried meat, wild rice, and maple sugar. The poles bearing the Sioux scalps were stuck in the ground beside the pile of food, and the feast was called "feasting the Sioux." There was no soi^ connected with this feast. After the feast a simple ceremony in praise of the war- riors took place. The victors were seated in a row and their friends brought gifts, which were laid before them. Often the following song was sung at this time. The words of this song require explanation. According to OdjXb'we, defeated warriors were treated with scorn and derision when they returned. This is the song of victorious Gull Lake warriors, who were being honored at some other village, the inference intended to be drawn from the words being the exact oppo- site of their direct translation. OdjXb'we stated that the words of the song meant "at Gull Lake [our home] they will be proud of us," but the correct translation is as given. This song was recorded three times, a period of several weeks elapsing between the ren- ditions. The words varied somewhat, but Odjft'we stated that all have the same general meaning sLnd that it was allowable to change the words of a song provided the ''time" and the meaning of the words remained the same. SCALPS ATTACHED TO HOOP DENSMORB] CHIPPEWA MUSIC — ^n 119 Voice J=i 116 Recorded without drum SS: No. 37. Gift Song Sung by OdjIb'^we £=C l Q q faj e (Catalogue No. 389) ei m ^ ^ S m ^ ^ r E g^^ i WORDS ga^'gayac^gonslkag^ at Gull Lake manoga''yana''wenimIgo''niiii- . let them speak lightly of us AnxjUy^, — This song was transcribed from the first of three ren- ditions. The melody consists^ of four parts. The rhythmic unit was accurately repeated except for a slight change in the note-values of the last measure. The other renditions were only partial and were similar to the latter half of the transcription. When different words were used the note-values differed accordingly,. but the trend of the melody remained the same. The song is harmonic in structure and contains only the tones of the major tf iad and sixth. In response to this song the warriors rose and danced, singing of what they had done on the warpath. These songs were composed on the way home (see No. 35). The following is an example of this class of songs. OdjXb'we stated that this song was composed by his brother and sung in the victory dance. His brother had been on a war party with his father and Hole-in-the-day and had cut off a Sioux woman's head, bringing home the scalp. 120 BUREAU OF AMERICAN ETHNOLOGY [BULL. 68 No. 88. ScAlp Song Sung by OdjIb^we Voic* J =160 Drum J =104 ( Drum-rhythm similar to No. 2 ) r^'tJ- i f C f 1^^ Mi ^ (Catalogue No. 366) ir ' I ." r I f r n Go-ni-ge-ta-gi-na a- ga- dSn - da-mo - dog o - ma - ml-kwe ^ «- ir ir ^ m t r Tr If I J. J'J ^ toe gi - kic - ki-gwe - jflg WORDS gonige^tagina' I wonder agadSn^damodog^ if she is humiliated Oma^mikwe^ the Sioux woman gikicTdgwej^' that I cut off her head Analysis. — This is a song of derision, and in that respect it resem- bles No. 14; comparison of the two songs is therefore of interest. Both are minor in tonality, begin on the octave, and, as is imusual, have the descending fourth as their first progression. Both end on the fifth, the conipass being from the dominant below the tonic to the octave above it; a more common range is from the tonic to the twelfth above it. Both songs are melodic in structure and neither contains an accidental. With these features the resemblance ends. No. 14 is in double time with two triple measures, begins on the accented part of the measure, and contains no rhythmic unit; while the song under analysis is in triple time throughout, begins on the unaccented part of the measure, and contains a short rhythmic unit continuously repeated. These points of diflference show the individ- uality of the two songs. The derision in No. 14 is subtle and tan- talizing and the rhythmic swing is long, without a clearly defined unit; while in the present instance the derisive idea is more direct, the taunting more keen, finding expression in a short, crisp rhythm. Five renditions of the song were recorded, the rhythm showing no variation. Gifts were distributed to all the people by members of the war- rior's clan; for instance, Odjib'we's do'dem (clan animal) was the bear. When he returned bringing a scalp, all the men and women belonging to the Bear Clan danced around him with their arms full of presents, after which they distributed the presents throughout the village in his honor. dbnsmobb] CHIPPEWA MUSIC — ^n 121 The next event was the victory dance, which often continued until daylight, by the light of torches and bonfires. At this dance the Sioux scalps were carried and songs were sung in honor of the war- riors. (See Nos. 80, 83, 165.) This is illustrated by the following two songs, which were composed, respectively, by the wife and the mother-in-law of Odjib'we and sung in recognition of his prowess. OdjXb'we recorded the first song 'n August, 1909, and sang it again in March, 1910, the renditions and the accounts of the ii;icident being identical. OdjXb'we stated that his wife's brother was killed by the Sioux and that he organized a war party in return. The purpose of this expedition was to attack a certain Sioux village located on an island in Sauk River, but before reaching this village the Chippewa met a war party of Sioux, which they pxusued, killing one man. There were nine Chippewa in OdjIbVe's party; not one was killed. They returned home at once and OdjXb'we presented the Sioux scalp to his wife De'kiim ("across"), who held it aloft in the victory dance as she sang the following song. No. 39. The Song of De^kOm Sung by OpjIb^we (Catalogue No. 348) Voice J =168 Drum J = 108 ( Drum-rhythm similar to No. 2 ) tff rf r I I f9- ^ r r i r'%J ^ rTf^miia-' Ji- ^^ O-djIb-we gi - sai-ye-nafi o-bi-nan WORDS OdjIbVe OdjIbVe gisai^yenan. our brother obi^nan brings back Analysis, — ^The five renditions of this song recorded are uniform in all important respects. The rhythmic unit is interesting; this occurs three times, comprising all the song except the part in which the words occur. (See Nos. 1, 8, 12, 13, 30, 40, 81, 105.) The minor tonality is well established and the approach to the tonic by the descending interval of a fourth is somewhat unusual. (See analysis of No. 22.) Other songs composed by women are Nos. 31, 40, 112, 127, 151, 177, and 178. 122 BXJBEAU OF AMEBICAK ETHNOLOGY [BUiXi. 58 When De'ktoi had finished the song, her mother, Djifigwa'ktlniigo'- kwe C rumbling-earth woman"), arose, and, taking the scalp, danced while singing the following song, which she composed in honor of Odjlb'we. No, 40. Song of Rejolelng (ratalog:ue No. 365) Sung by OdjIb'^we VOIOB J =168 Dbum J=104 ( I>rum-rhythm similar to No. 2 ) m^^ f i iijf L% 1 f ^- MI - sQ. - na dji-min'- wSn -da-man nifl-gwl - zls a I T i oM - t-L ^ LT-m 1 mM I a ^^ \ ml- sd na dji-min - wSn- da-man nifi-gwl - zls m ^ i^-fS f f=^ i E m B^ gi - sai - ye gi - pi -da -ma - wi-yan nifl-gwl-zls « ^^m 2=p: t ^ I ml - sd - na dji - mln-wSn - da-man nifl - gwl - zls a ye WORDS ml'^g^a'' it shall be djimlnwgn^daman^ that I rejoice ningwi^zis O, my son gisai^'ye your elder brother gipi^'damawiyan'' you have brought back ningwi^'zis O, my. son ml^sdna'' it shall be djimlnw^n^daman'' that I rejoice ningwi^zls O, my son Analysis, — The rhythmic unit of this song, which occurs 3 times, is particularly interesting and inspiring. The song is divided into four parts, the words changing in the third section. (See Nos. 1, 8, 12, 13, 30, 39, 81, 105.) The melody is major in tonality and moves freely along the fourth five-toned scale. In songs based on the fourth, five-toned scale the second and sixth frequently occur only as passing tones. The sixth is accented in one measure and the song is therefore classified as ''melodic with harmonic framework'' instead of purely DENSMORE] CHIPPEWA MUSIC — ^n 123 harmonic in structure. The four renditions of the song recorded are identical in every respect. Other songs composed by women are Nos. 31, 39, 112, 127, 151, 177, 178. Odjib'we stated that he took part in a severe fight with a band of Sioux led by the famous chief Gaga 'gins QL^ittle Crow). The circum- stances were as follows: Little Crow's band was in camp on the west side of the Minnesota River a few miles below the site of the present St. Paul. The blind warrior accurately described a level tract of land west of the first bend in the river. A large war party of Chippewa prepared to attack the Sioux village and sent two scouts in advance, who killed and scalped a Sioux woman coming out of a tipi. Think- ing that the scouts were unprotected, the Sioux warriors pursued them and soon met the entire force of the Chippewa. A terrible fight followed in which the Chippewa were victorious. The following song, which relates to this victory, was composed by Hole-in-the-day, leader of the expedition. (See p. 61.) No. 41. Victory Song Sung by ODjiB^'wE (Catalogue No. 345) Voice J=92 Drum J =104 ( Drum-rhythm similar to No. 2 ) ^^ ^ ' - r f f i i, Where do words appear in the music above, meaniogless syllables were sung. 124 BUREAU OF AMERICAN ETHNOLOGY [BULL. 68 intervals of the fourth five-tonetl scale. The first three measures constitute an interesting rhythmic phrase but it is not repeated and the song as a whole lacks rhythmic unity; it is, however, inspiring and joyful in general character. Attention is directed to the discrep- ancy between the metric units of voice and drum. The following incident Ulustrates the use of a dream song, which the warrior sang while on the warpath, to secure supernatural aid, and afterward in the victory dance to commemorate the triumph and the means by which he believed it had been attained. OdjXb'we stated that long ago a party of Chippewa attacked the Sioux, killing several and securing the scalps. Then they started for home with the Sioux in hot pursuit. The leader of the party was the singer of this song. In his youthful vision he saw a protecting cloud, and when the Sioux pressed close he sang his dream song. Suddenly a dark cloud came across the sky, the rain fell in torrents, and through the storm the Chippewa made their escape. After reaching home the leader sang this song at the victory dance. (Compare Nos. 63, 64, 66, 85, 87, 94, 140, 141, 145, 147, 148, 150, 151, 152, 153.) No. 42. "A Cloud" Sung by OdjIb^we (Catalogue No. 330) Voice J = 96 Drum J =96 ( Drum-rhythm similar to No. 8 ) 4:1 ^^s ^^A r J- 1 8—^ v^ ^ Ge-bi-mi-a - go-6- yan a - na - kwad ge - bi - mi - m ^li'iu -^- a -^- s^ & - go - 5 - yan t ya ge-bi-mi - & - go - 5 - Eag yt^^ * yan a - na-kwad ge-bi-mi-& - go -6 - yan ge-bi-mi- ^i^ cjVf ^\i ft . go - 5 - yan a- na-kwad ge -bi-ml-ii go - - yan WORDS p:e'l)imia^gooyan'' circling above me a'nakwad^ a cloud dbnsmore] CHIPPEWA MUSIC — ^n 125 Analysis, — This song contains three accidentals — the second, third, and sixth lowered a semitone. The F natural was imperfectly given at the opening of the song but accurately sung in the latter part. Three renditions of the song were recorded and the accidentals were uniformly given though the intonation varied on several other intervals. The rhythmic unit occurs six times, the prolonged tones between the second and third occurrences of the unit being uniform in the renditions. The following is the dream song of a forgotten warrior. No. 48. "I am Called" Sung by OdjIb^wb Voice J = 104 Dbum J =116 ( Drum-rhythm similar to No. 2 ) (1st phnuse) (Catalogue No. 331) ^^n P i i-im ( 2d phrase ) I ■ Na-na'-wa-gam kl - tci-gam-I!ig nin- on - do-mig ( 3d phrase ) r \^^s r i nn u u ^fwh iii uj ^ ma-ni-do e WORDS nanaVagam'' from the middle kl^'tcigam^ing' of the great water ninonMomig^ I am called manido' by the spirit Analysis, — Four renditions of this song were given, with a pause between the second and third. IVo weeks later the song was recorded twice. The six records are identical except that in the last two the tone E (last count, fifth measure from the close) was simg F natural. In one or two of the first set of renditions this tone was raised slightly, less than a semitone. The ascending progression on the last count of the first measure was given with a sliding of the voice which can not be accurately transcribed. It will be noted that the first five measures of the song constitute a rhythmic phrase, marked "1st phrase ''; instead of repeating this, 126 BUREAU OF AMERICAN ETHNOLOGY [boll. 53 however, the song introduces another phrase of 7 measures, marked "2d phrase," followed by still another of 5 measures, marked "3d phrase." Thus the song contains 17 measiu*es, divided into three parts, each part making "rhythmic sense," the three forming a rhythmic whole. The tones of the song are grouped about the chord of E minor, the tone A in the ninth measure being the only accented tone not belong- ing to that chord. The presence of this tone, however, makes it necessary to classify the song as melodic rather than harmonic in structure. The song contains all the tones of the octave, also one accidental — the sixth raised a semitone. The principal drum-rhythm is that of accented eighth notes, but in the latter part of the first record the accent is intensified and the imaccented beat shortened imtil the drum-rhythm consists of triplets, the accented beat representing the first note, and the unaccented beat the third note, of the triplet, an eighth rest occurring between the two. This change of drum-rhythm in a record is imusual. At the conclusion of these dances * the scalps were carefully wrapped and kept imtil the next dance. When one village was tired of dancing with the scalps they were sent to another village, where similar danees were held. Mrs. English (the writer's inter- preter) stated that she remembered when Sioux scalps were sent from the Minnesota villages to those on the shore of Lake Superior, a distance of more than a hundred miles. The scalps were carried by the same oc'kabe'wis who bore the war message and tobacco before the organization of the war party. On this occasion also he carried tobacco and was prepared to sing the songs connected with the taking of the scalps. When all the villages had finished dancing the scalps were brought back to the first village, where speeches were made and the poles were set in a grave. This was frequently the grave of the man whose death was avenged by the war party. There the poles bearing the scalps remained undisturbed until wind and weather completed the conquest of the Sioux. Songs of the Peace Pact Interspersed through the troubled years of strife there were periods of peace between the Chippewa and the Sioux. Odj!b'we stated that the tribe desiring peace sent messengers to the other tribe asking for a cessation of hostilities. According to him, the Sioux were usually the tribe who sought peace. If the Chippewa were willing to join in a peace pact, the messenger returned to the enemy with a favorable reply. The Sioux then brought their families and camped near the Chippewa while each tribe made preparations for the formal proceedings. The meeting was attended with much > other songs of the war dances are Nos. 83-93. DENSMORB] CHIPPEWA MUSIC — ^n 127 pomp and ceremony. The warriors arrayed themselves m their gayest attire. In each camp was the soimd of singing and of shrill war cries, excitement was in the air, and it seemed that an encounter instead of a truce was in preparation. Amid shouting the opposing forces made ready to advance. The Chippewa were led by an oc'kabe'wis bearing the pipe, followed by four women; next came the leaders of the war party, while behind them were the warriors. The Sioux followed in similar array. As the two tribes approached each other the excitement subsided. One of the greatest scenes in the drama of Indian warfare was to be enacted. To and fro in front of the warriors walked the women. Often it was only their presence that prevented violence, the fire of battle bursting forth afresh as the warriors drew near their recent enemies. All sang as they came forward. The melody was the same in both tribes but the Chippewa sang the names of the Sioux leaders and the Sioux the names of the Chippewa leaders, each praising the valor of the other. OdjXb'we recorded the song, first as it was simg by the Chippewa, the transcription being from the first rendition which contained the name of Ga'gagins' (Little Crow), who is mentioned in connection with song No. 41. Without a pause he continued the song, introducing the names of the following Sioux leaders in the successive renditions: Ca'gobSns (Little Six), Bl'nicdns', and Wa'- bacfins'. He then stated that he wished to record the song as it was sung by the Sioux. The melody was the same but the following names of Chippewa leaders were introduced: BA'gonegi'jltg (Hole-in- the-day), Wa'bejic' (" marten''), and Zon'gakflm'Xg (^^strong earth'')* No.'44. Song of the Peace Pact Sung by OdjIb'we (Catalogue No. 352) Voice J= 126 Drum Jr=76 ( Drum-rhythm similar to No. 2 ) i te i 1=5 Pg -^- ■^ JB hufl - ga hull ga Ga ga - gms ^^ ^ t -fS^ -^ ■«4- i o - gi - ma e huii-ga e hdEi-ga e huiL- ga WORDS hun-'ga ^ leader Ga^gagins' Little Crow o^gima chief 1 From Sioux hunka\ See S. R. Riggs, Grammar and Dictioiiary of the Dakota Language, SraWutm, Contrs., vol. iv, Washington, 1852. 128 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Arudysis, — This melody is characterized by directness and simplic- ity. It b^ns on the tonic, an unusual beginning in minor songs, and the minor tonality is fully established in the first two measures. The song contains 12 measures and consists of three parts, the rhythmic unit occurring in the first and last parts and the names in the middle part. The slow metric unit was maintained in the renditions with both Sioux and Chippewa names, suggesting that this was the tempo in which the song was actually sung, a tempo which gives dignity to the song, appropriate to the occasion of its use. The Sioux fired their guns into the air and did not reload them. The Chippewa did likewise. Nearer they came, the singing women walking to and fro, brave as the wives of warriors shoidd be. Then the tribe which had asked for peace sent forward its pipe bearer. Holding the pipe in his hands, he offered the stem in turn to the opposing leaders, each of whom puffed the pipe. Then the other tribe sent forward its pipe bearer in the same manner. The following song was sung by the Chippewa pipe bearer when offering the peace pipe to the Sioux. No. 45. Song when Offering the Peace Pipe (Catalogue No. 390) Sung by OdjIb^we VoicB J _ - 72 Recorded without drum I ■#.-#-••#- . If Nin - do-kldj an nin- do - kidj an nin-do - kidj an WORDS uindo^kldj my pipestem Ajwlysis, — This song is in the key of G, yet the tonic appears only once (in the seventh n^easure) as an accented tone. Harmonic tones are frequently approached from the tone above. (See analysis of No. 53.) The rhythmic unit occurs only twice, the latter part of the song containing a division of the coimt similar to one which occurs in the unit but not containing a repetition of the imit. The rhythm of the song as a whole is particidarly interesting and pro- iluQ^s an effect of dignified action well suited to the occasion of its use. The melody tones are those of the fourth five-toned soale. The four renditions recorded are uniform in every respect. DBNSMOBB] CHIPPEWA MUSIC — ^n 129 When the smoking of the peace pipe was finished, the opposing warriors shook hands, and the Sioux were offered the hospitality of the Chippewa camp. After the forming of a peace pact the two tribes camped near each other for some time and social dances were held every night; these were called ca'wtlno'ga (southern dance). OdjXb'we stated that only ca'wtlno'ga songs were sung at the peace dances and that these songs were simg at no other time. Presents were sometimes given, but the exchange of gifts did not form an essential feature, as in the woman's dance (see p. 38). A woman sometimes beckoned to a gayly arrayed yoimg man, threw her blanket over his head, and took some of his finery as they danced together. It is said that the ca'wtlno'ga songs were particularly pleasing and that the people were so carried away with the excitement that the dance often lasted all night. The origin of the ca'wiino'ga was thus described by Na'waji'- bigo'kwe: The ca^wihio^ga is a very old dance and was first a dance for healing. It was not to cure people who were very ill, for that was done by the Mlde^, but it was for jyeople who were not in good health. The South Manido^ taught this dance to a very good young man whose relatives were ill. It is called ca^wtlno^ga because it came from the South Manido^, and the people who first used it were people living south of the Chippewa country. The young man got up the dance as he was instructed by the South Manido^ and his relatives recovered. Afterward the dance was used as a social dance, and the songs are particularly pleasing. No. 46. Ca^wdnc/ga Song (a) Sung by ODjiB^'wB Voice Jr=88 Drum J = 104 ( Drum-rhythm similar to No. 2 ) (Catalogue No. 354) r ^^m ^ r* 1 * ' TMUl Analysis. — This song should be regarded as one of those fugitive melodies in which the signature indicates the pitch of the tones rather 67996'— BuU. 5a— 13 9 130 BUREAU OF AMERICAN ETHNOLOGY [bulIj. 53 than an established key. The six renditions of the song recorded are identical. In every instance the close was as transcribed, and the return to the first measure was without a pause. The first two measures are in an ordmary rhythm, and around them, in the repe- titions of the song, there circles a succession of measures so insular in rhythm as to fascinate and hold the attention. One can readily imagine that to such rhythms the excitable Indians might have danced all night. No. 47. CA'wikno'gB, Song (b) (Oatalog:ue No. 355) Sung by OdjIb^we VoiCB J =168 Dbum J=: 108 ( Drum-rhythm similar to No. 2 ) (1) Ca-wftn - o ga-yan t hi ca- wftn- o ga- yan i hi ca-wfln - o ga-yan t hi ca-wiin-o ga-yan t hi WORDS ca'wiino'' south ga'\'an dancing Analysis. — ^The four renditions of this curious song show no varia- tion. The general efiFect of the song is jerky, yet the rhythm has an element of indefinite continuity; it is a rhythm which fascinates and could be kept up for a long time. The principal rhythmic unit occnis four times at the opening of the song, and is followed by a shorter rhythmic unit, which likewise occurs four times and contains the same syncopations as the first. These syncopations were uniformly given and are the principal characteristic of the song. (See Xo. 88 of present work and Xos. 123, 1-47, 152, in Bulletin 45.) Wak Songs Coxcernixg Womex The incident concerning the first of this group of songs was narrated to the writer by Mr. John W. Carl (see pp. S3, 303) . Mr. Carl, who is a DEN SMOKE] CHIPPEWA MUSIC — ^n 131 grandson of BXca'ganab, said that in his childhood he often heard the following story: There was once a Hudson's Bay trader who came to the Chippewa country, loved a Chippewa maiden, and wooed her according to the custom of her people. He gave a great feast, invited her father, and asked his consent to the marriage. Three daughters were bom to them, one being the mother of Blca^ganab . Years passed and Blca^ganab , granddaughter of the Hudson's Bay trader, grew to womanhood. One day as she was lighting her breakfast fire she heard the cry, "The Sioux are upon us! " This was followed by the report of guns. Immediately the camp became a scene of confusion, the men trying to repulse the Sioux and the women hastening to put their house- hold goods into canoes. The father of Blca^ganab went into the fight ; he was wounded five times but contrived to get near the water and was helped into a canoe. It was supposed that Blca'^ganab had been killed, but when the escaping party were far from shore they saw a woman fighting the Sioux with a club. The Sioux drove her into the water and she swam toward a canoe. The Sioux followed, trying to strike her on the head with a club, but she actually broke and tore their canoe with her hands. It was said that she was like a great bear in her ferocity. The Sioux were forced into the water and she poimded them with a paddle as they made for the shore. Instead of following the retreating Chippewa she went upstream, hiding in the bushes, returning later to the battlefield by a circuitous path. There she found only the dead Sioux, covered with their blankets; beside them lay their gims and much beautiful beadwork. Blca^ganab scalped the Sioux, put on a Sioux war bon- net, and made a great pack of blankets, guns, and beadwork; then she painted her face and went to the Chippewa camp with her trophies. Bica'ganab, one of the bravest of Chippewa women, died in 1892. No. 48. Song Concerning a Brave Woman Sung by OdjIb^we Voice J =160 Drum J =160 (Drum-rhythm similar to No. 15) (Catalogue No. 351) P9# i I iJ: ^ fe - ni - w6k we win ja - wa - so wm gi - ja - wa - so min-di - m mifin^^^ t ?W4m mo-yan toe ja-waH90 - no-da-go -nan ya e ya e WORDS 6^niw6k^ greatly win she gijVwaso defending her children mln^'dimoyan'' the old woman gigijawa'^sonoda^'gonan^ fought for us all toe a he 1 The first two syllables of this word, and in one instance the first syllable of the third word, are omitted to make the words conform to the mtudc. 132 BUREAU OF AMERICAN ETHNOLOGY LBUiiU 53 Analysis. — ^This melody presents an interesting study of rhythm. It contains 19 measures and is divided into three parts, the first con- taining 5 measures, the second 4, and the third 10. It has no rhythmic unit, yet there is a melodic phrase which occurs three times — ^in the second and third, and in the sixth and seventh, measures. It occurs also in the tenth and eleventh measures, but in the latter instances the first measure is a triple one, strongly accented on a tone not found at the opening of the song. If the first tone of the song were unaccented it might be regarded as the second count of a triple measure, but it is strongly and unmistakably accented. Five renditions of the song were recorded, all identical. The metric unit of voice and drum is the same, but in rendition the voice slightly preceded the drum. The following two songs were composed about a war expedition which occurred when Odjib'we was a young man. The fight took place on the prairie, a few miles north of the site of the present St. Cloud, Minnesota. It was a hard-fought engagement and 20 Chippewa were killed. One of the Sioux women seized an ax and attempted to repulse the Chippewa who attacked her, but :he and all her children were kiUed. The father of OdjlflbVe composed this song concerning the incident. No. 49. ''The Sioux Woman Defends Her Children" Sung by OdjIb^we Voice J = 92 Drum J— 92 ( Drum-rhythm similar to No. 2 ) (Catalogue No. 364) Ne - ta - gi -ca-wa - so - sig Wa-pe-toil bi - a - pi - sT - ka - dug go- m ^^m Sfp\t\i ca-winbi-gi - ca-wa-sud WORDS neta'gica''wa8os!g^ once careless of her children Wape'toii * (Sioux word) she of the Wapeton Sioux biapi''8ika''dug now comes in haste go'^cawin' surely bigica^'wasud^ to their defense Analysis. — The five renditions of this song recorded are singularly uniform. Not only is the rhythm identical, but slight variations in 1 See footnote, p. 70. DBNSMOBlCl CHIPPEWA MUSIC — ^n 133 tempo are duplicated. The melody is based on the major triad and would be classified as harmonic in structure except for the accented E in the fourth measure. Among those taken captive in this fight was a Sioux woman. It was decided to kill her and she was led forth to be shot. After the preparations for her execution were complete she was allowed to sing. We do not know what the song may have been, but it moved the elder brother of OdjKb'we so strongly that he rushed forward and rescued her. The war party soon started on its homeward way. At the first camp a dance was held. During this dance the captive woman arose, shook hands with the warriors and kissed them to show gratitude for her deliverance; she also sang the following song, which she composed at that time. No. 50. Song of the Captive Sioux Woman Sung by ODJiB''wB Voice J = 80 Drum J= 100 ( Drum-rhythm similar to No. 3 ) (Catalogue No. 334) '^m Ka - ka-ta-wft m he o ya -ba- ma - gin go - djl - ma he ke- VoiCB J =92 g6t nin-ja- we - ni-mlg e WORDS Kaka'tawtl * ._ any Chippewa waya^ama^tei^' whenever I see nin^gaOdji^ma I will greet with a kiss keggt'' truly nin^jawe^nimlg' he pities me Analysis, — Five renditions of this song were recorded. The metric unit varies slightly in these renditions, the metronome indication being from the fourth rendition. The same rhythmic pecularities appear in all the renditions, the first count in the second measure receiving more than the regular time and the last two measures be- ing sung more rapidly than the preceding part of the song. The upward progressions in the second measure are uncertain in intona- > Word used by the Sioux in designating the Chippewa. * The first syllable of this word is omitted and the following word is changed in order to adapt the words to the music. 134 BUREAU OF AMERICAN ETHNOLOGY [BULIi. S3 tion, the upper tones not being clearly sung but rendered with what might be termed a "toss" of the voice. The song contains no rhythmic unit^ yet the melody as a whole has a complete and satis- factory rhythm. Attention is directed to the interval of a whole tone between the seventh and eighth of the scale, near the close of the song. This interval was firmly given. It is an unusual progression in recorded Chippewa songs although found also in songs Nos. 9, 85, 100, 119, 124. After an interval of eight months three renditions of this song were recorded by the same singer; these were identical with the first record in both melody and rhythm but differed slightly in the words. "War Songs — White Earth Reservation Melodic Analysis TONALITY Major. Minor. Total. Beginning on the— Thirteenth. Sixth Twelfth... Fifth Tenth Ninth Octave Foui^th.... Total. Numbers Per cent. 27 23 46 50 Serial Nos. of songi 2, 3, 6, 6, 7, 8, 13, 16, 18, 19, 20, 21, 22, 23, 25, 20, 27, 28, 31, 32, 33, 37, 40, 41, 42, 47, 49 1, 4, 9, 10, 11, 12, 14, 15, 17, 24, 29, 30, 34,35, 36, 38, 39, 43, 44, 45, 46, 48, 50 Ending on the— Tonic. Fifth. Third. Total. BEGINNINGS OF SONGS Numbers Per cent. 3 e 1 2 11 a 8 16 11 22 5 10 10 20 1 2 90 Serial Nos. of songs 19, 20; 29 45 1, 2, 3, 7, 12, 16, 22, 27, 40, 41, 42 •6, 9, 15, 18, 24, 31, 39, 47 8, 10, 11, 17, 21, 26, 33, 34, 35, 36, 49 6, 13, 23, 25, 28 4, 14, 30, 32, 37, 38, «, 44, 48, SO 4() ENDINGS OF SONGS Numbers' Percent Serial Nos. of songs 31 14 5 62 \ 1, 2. 3, 4, 6, 7, 8, 9, 10, 11, 12, 16, 19, 24, 35, 90, 27, 29, 30, 31, 32, 33, 34, 36, 37, 40, 41, 42, 47, 49,50 28 5, 13, 14, 15, 17, 21, Zi, 2S, 35, 38, 43, 44, 48^ 48 10 18, 20, 22, 39, 45 densmobb] CHIPPEWA MUSIC — ^n 135 Melodic Analysis — continued TONE MATERIAL Numbers Per cent. Serial Nos. of songs Second five-toned scale 6 16 2 1 1 2 2 1 1 5 1 2 3 3 1 1 2 12 S2 4 2 2 4 4 2 2 10 2 4 6 6 2 2 4 1, 17, 24, 30, 34, 44 Fourth five-toned scale 3, 6. 8, 16, 18, 19, 21, 22, 23, 26. 31. 40. 41. 42, Maior triad and sixth 45,47 33,37 Major triad and second 49 Minor triad and seventh 36 Minor triad and sixth 29,35 Minor triad and fourth 10,12 Minor third and fourth 11 Octave complete 43 Octave complete except seventh Octave complete except seventh and sixth Octave complete except seventh and second Octave complete except sixth 2, 7, 25, 27, 32 38 14, 15 9, 39. 46 Octave complete except fourth 13, 20, 48 Octave complete except fourth and third Octave complete except fourth and sec- ond Octave complete except second 28 5 4,50 > ^^ Total 50 ACCIDENTALS Songs containing— Numbers Per cent. 76 2 2 10 2 4 2 2 Serial Nos. of songs No accidentals 38 ■ 1 1 5 1 2 1 1 1, 2,3,4, 5,6, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 20, 21, 23, 24, 25, 26, 27, 28, 31, 33, 34, 35, 37, 38, 39, 40, 44, 45, 47, 48, 49, 50 36 Seventh raised a semitone Sixth raised a semitone 43 Sixth lowered a semitone 7, 8, 19, 22, 41 30 Fourth lowered a semitone Second lowered a semitone 29, 46 Second, third, and sixth lowered a semi- tone Second lowered a semitone and fourth raised a semitone 42 32 Total 50 STRUCTURE Numbers Harmonic Purely melodic Melodic with harmonic framework Total 11 25 14 50 Percent. 22 60 28 Serial Noe. of songs 3, 4, 5, 10, 17, 24, 26, 33, 35, 37, 60 1, 2, 6, 7, 9, 13, 15, 16, 20, 21, 22, 23, 25, 27, 28, 29, 32, 34, 36, 38, 39, 42, 43, 46, 48 8, 11, 12, 14, 18, 19, 30, 31, 40, 41, 44, 45, 47, 49 136 BUREAU OF AMERICAN ETHNOLCK^T [BCLL. 58 Downward. Upward. Total. Melodic Analysis — continued FIRST PUOORESHIONS INumbera Percent.' Serial Not. of aonga 30 20 50 60 1, 2, 3, 4, 5, 6, 8, 12, 14^ 16, 17, 19, 21, 22, 33, 24, 27, 28, 29, 30, 33, 35» 36, 88, 39, 40, 41, 46, 47, 49 ^ I 7, 9, 10, 11, 13, 16, 18, 20, 25, 26, 31, 32, 34, 37, ; 42, 43, 44, 46, 48, 50 Rhythmic Analysis PART OF MEASURE ON WHICH SONG BEGINS NumboFBi Percent. > Serial Nob. of songs On accented part. On unaccented part. 24 26 Total. 60 48 6g 2, 3, 5, 6, 8, 14, 15, 16, 17, 20, 23, 25, 26, 27, 31, 32, 37, 38, 40, 43, 44, 46, 48, 49 1,4,7,9,10,11,12,13,18,19,21,22,24,28,29, 30, 33, 34, 35, 36, 39, 41, 42, 45, 47, 50 RHYTHM OF FIRST MEASURE Beginning in— 2-4 time. 3-4 time. 7-4 time. 5-4 time. 5-8 time. Total. .Numbers Per cent. 26, 62 19 1 38 1 1 2 : 3 6 1 ^ 2 i 50 1 Serial Nob. of songs 5, 6, 9, 11, 13, 14, 16, 18, 21, 23, 24, 29, 30, 31, 32, 33, 34, 35, 37, 40, 41, 42, 46, 46, 48, 49 1, 3, 4, 7, 8, 10, 12, 15, 19, 20, 22, 28, 36, 88, 39, 43, 44, 47, 50 27 17, 25, 26 2 CHANGE OF TIME Songs containing- Numbers Per cent. Serial Nos. of songs Chanee of time i 38 76 1, 2, 3, 5, 6, 7, 8, 9, 11, 12, 13, 14. 15, 17, 18, 19, 20, 23, 24, 25, 27, 29, 30, 31, 32, 34, 36, 36, 39, 40, 41, 42, 43, 45, 46, 48, 49, 50 4. 1(), 21, 22, 26. 28, 33. 35. 37. 38. 44. 47 No chanee of time 12 H Total 50 densmorb] CHIPPEWA MUSIC — ^11 137 Rhythmic Analysis — continued RHYTHMIC UNIT Songs containing— Numbers Percent. Serial Nofl. of songB A rh vtlunic unit 38 2 10 76 4 ftO 1, 2, 3, 4, 6, 6, 8, 11, 12, 13, 16, 16, 18, 19, 20, Two rhythmic units 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 32, 33, 34, 35, 36, 37, 38, 39, 40, 42, 44, 45, 46 17,47 No rhythmic unit 7, 9, 10, 14, 31, 41, 43, 48, 49, 50 Total 50 COMPARISON OF METRIC UNIT OF VOICE AND DRUM i Unit the same. Unit different. Recorded without drum. Total Numbers Percent. 12 H 29 58 9 18 50 Serial Nos. of songs 5, 16, 16, 17, 18, 19, 22, 29, 33, 42, 48, 49 2, 3, 6, 7, 8, 9, 10, 11, 12, 13, 20, 21, 24, 25, 28, 30, 31, 32, 34, 36, 38, 39, 40, 41, 43, 44, 46. 47,50 1, 4, 14, 23, 26, 27, 35, 37, 45 1 For more detailed analysis see Table 20, p. 30. Children's Games of War The children as well as the older members of the tribe formed new acquaintances while the Chippewa and the Sioux camped near together. Games were arranged in which the children of the two tribes contended with each other. War was the chief interest and even found its way into the play of the children. OdjKb'we stated that he remembered an instance which happened when he was a little boy. The Chippewa and the Sioux were camped near each other and the small boys had a sham battle, with the men and women of each tribe as spectators, cheering on their young warriors. Rushes, sharpened at one end and notched at the other so that they could be shot from bows, were used as arrows. The sting inflicted by these was painful, as the boys wore no clothing, but no one who entered the contest was allowed to run away. The rules of the game forbade shooting at the heads of the opponents, as otherwise serious injury might have resulted, but the fight was waged right lustily and blood flowed freely. 138 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 51. War Song of OdJIb^we's ChUdhood * (Catalofjrue No. 278) Sung by OdjIb^wk Voice J =80 Drum J=80 ( Drum-rhythm similar to No. 10 ) iii^ii-h^V4 :-lj:^ Nin - do-kldj a nin - U LJ'ir ' I do-kldj a nin-do-kI< WORDS nindo^dj my pipestem Analysis. — This song contains the tones of the fifth five-toned scale according to Helmholtz (see p. 4), a scale wliich comprises the tones of the diatonic octave, with the exception of the second and fifth. The song is in the key of D minor and the tones E and A do not appear. No. 52 is based on the same scale. This song is charac- terized by the approach to an harmonic tone by means of the tone above. (See No. 53.) The three renditions recorded are miiform in every respect. The metric imit is very slow, a characteristic of many songs of self-control. (See Nos. 30, 52, 103, 161). The following song was used as a preliminary to a sham battle between Chippewa and Sioux boys. The combatants, divested of clothing, were ranged in facing lines. The men of each tribe stood behind the boys and sang the song with them. When the song was finished the men shouted, "Now start to fight," and thereupon the little warriors flung themselves into the scrimmage. The rules of this battle were different from those referred to in connection with the preceding song. In this contest the boys tried to kick one another down, not being allowed to use their hands. If a Sioux boy succeeded in felling a Chippewa, the war whoop arose from the whole band of Sioux. Perhaps this exultation was still at its height when a Sioux boy fell before the sturdy kicks of the Chippewa, and a whoop arose from the Chippewa ranks. The battle was well fought and in it many a boy received his first training for the sterner game of tribal warfare. 1 This and the two songs next following are included in tlie tabulated analysis of White Karth songs, p. 306). DENSMOBB] CHIPPEWA MUSIC ^n 139 No. 62. Song Before the Boys' Fight (Catalogue No. 279) Sung by OdjIb^wb Voice J =68 Recorded without drum Analysis. — This melody, like the preceding, is hased on the fifth five-toned scale with D as the tonic. The song is minor in tonality and very slow in tempo. The subdominant triad (G-B flat-D) is prominent in the middle section while the minor third on the tonic (D-F) characterizes the first and last sections. A slow metric unit in songs of controlled excitement is noted also in Nos. 30, 51, 103, 161. No. 63. Little Girls' War Song (Catalogue No. 280) Voice J=:96 Recorded without drum Sung by OdjIb^wb ^^ 5 ^m Nin-a-bem ga-mo^kwa-na-wlnd WORDS nina^em my husband gamo'^kwanawind'' who was wounded While the boys held their sham battles the little girls mimicked the woman's share in war. The aged warrior remembered well the boys' contests and also the song which the little girls sang, giving several uniform renditions of it, but in his description of the girls' play there lingered a trace of the boy's condescension. Odjib'we said merely that "the little girls were dancing and jumping around." Analysis. — This melody contains three peculiarities which rarely occur in Chippewa songs. First, it begins and ends on the same tone. This feature is foimd in only 11 songs (3 per cent) of the entire series of 340. The examples found in Bulletin 45 are Nos. 132, 142, 149, 140 BUREAU OF AMEBICAX ETHNOLOGY [bfix.. 53 150, 170, 174, 197; those in the present volume are Nos. 53, 112, 125, and 127, the last being another version of No. 149 in Bulletin 45. Of this number 4 are moccasin game songs, 2 are war songs, 1 is a love song, and 3 (including the present example) are songs for the entertainment of children. Second, it begins with the upward pro- gression of an octave, a characteristic of only 5 other songs of the entire series; possible connection of this with the content of the song is noted in the analysis of No. 9. The other examples are Nos. 170 and 174 in Bulletin 45, and Nos. 9, 31, and 125 in the present volume. Third, this song does not contain the third tone of the scale. Only 12 songs (3.5 per cent) of the series of 340 show this peculiarity, the song here considered being the first of the group in this volume. The serial numbers of the entire group are 45, 49, 60, 91 in Bulletin 45, and 28, 53, 112, 113, 116, 121, 178, 180 in the present work. We note that three of these songs were simg by women or by little girls and that 3 concern women, the 6 constituting half the group. Three of the remainder are songs of the Mlde^i^wln, to which women as well as men belonged, 1 is a begging dance song, 1 a war song, and 1 a song for the entertainment of children. The present song (No. 53) is the only one which contains only the first, second, fourth, and fifth of the scale. No. 121 contains only the first, second, and fifth; No. 113, the octave complete except the third; No. 60 (Bulletin 45), the octave complete except the seventh and third; No. 28 (herein), the octave complete except the fourth and third; and No. 116, the sequence of tones designated by Helmholtz as the first five-toned scale (see p. 4) ; and we find only the first, second, fifth, and sixth tones in Nos. 45, 49, 91 of Bulletm 45, and in Nos. 112, 178, 180 of the present volume. With the exception of No. 45 iq Bulletin 45, and No. 180 herein, these songs are major in tonality. A brief analysis of them for comparison is given herewith. Bulletin J^d No. 4^. — "I can tame the shell;" Mlde' song; key of B minor; tones comprised in melody, 1, 2, 5, 6; trend of melody, 2-1, 6-5. No. 49. — "Do not speak ill of a woman;" Mlde' song; key of A flat major; tones comprised in melody, 1, 2, 5, 6; trend of melody, 2-1, 6-5. No. 60. — "Weasel, thou art calling me;" Mlde' song; key of G flat major; octave complete except seventh and third; progression 2—1 occurrhig frequently in the melody. No. 91, — '^I am walking to the spirit land;" Mlde' song; key of B major; melody tones, 1, 2, 5, 6; trend of melody, 2-1, 6-5. DBNSMOBB] CHIPPEWA MUSIC — ^n 141 Present work No, 28, — Song of a war charm; key of D flat major; octave complete except third and fourth; trend of melody, 2-1, 6-5. No. 53, — Little girls' war song; key of F major; melody tones, 1, 2, 4, 5; trend of melody, 5-4, 2-1. No, 112, — Song of an ambitious mother; love song; key of E flat major; melody tones, 1, 2, 5, 6; a free melody with the progressions 6-5 and 2-1 occurring frequently. No, lis, — ^Love song; key of E flat major; octave complete except third; the progressions 6-5, 2-1 emphasized in melody. No, 116, — Begging dance song; key of G major; melody tones, 1, 2, 4, 5, 6; progressions 6-5 and 2-1 prominent in melody. No. 121,— Song of ca'w6no'ga dance; key of A flat major; melody tones, 5, 2, 1; trend of melpdy, 5-2-1. No, 178, — "He is going away;" love song; key of F major; melody tones, 1, 2, 5, 6; progressions 6-5 and 2-1 prominent in melody. No, 180. — Song of the crawfish story; key of C sharp major; melody tones, 1, 2, 5, 6; trend of melody, 6-5, 2-1. In examining these outline analyses we note that 2 and 6 occur as tones of approach to 1 and 5. This characteristic allies the group under analysis with another group in which the harmonic tone is frequently approached by the tone above, this group consisting of Nos. 29, 45, 51, 53, 65, 137, 139, 141. It will be noted further that the tones 1, 2, 5, 6 (in a song of major tonaUty) are the tones of the fourth five-toned scale lacking the third; another form of the incomplete fourth five-toned scale consists of the tones 8, 6, 5, 3, 1 occurring as given in descending order. This is the major tonic triad and sixth, which constitutes the tone material of 42 per cent of the 340 Chippewa songs under analysis. (See Table 6.) It has been noted that in songs containing this tone material the sixth is usually a preparatory tone to the fifth; the present group, however, may be considered the more primitive as both tonic and dominant are approached from the tone above and the intermediate third is absent. The emphasis of the fifth suggests a particularly strong feeling for that interval. The fifth is absent from only 2 (Nos. 51, 52) of the 340 Chippewa songs. The prominence of the octave and twelfth (or fifth) in the beginning, as well as in the range, of these songs is shown in Tables 2-5. In this connection it is interesting to note that these ai*e the principal "overtones" (see p. 4) of a fimdamental tone. DRUM-PRESENTATION CEREMONY In October, 1910, the writer witnessed the ceremony accompany- ing the presentation of two drums by the Lac du Flambeau Band of Chippewa in Wisconsin to the Menominee Indians in the same State. Part of this ceremony was enacted on the Lac du Flambeau Reservation and part on the Menominee Reservation.. It is called by the Lac du Flambeau Chippewa Dewe^igHn oml'giwen' ("a drum is given away") or the Drum-presentation Ceremony and is described by Barrett under the title of the Dream Dance.* During four days before their departure the Chippewa danced on their own reservation, the Menominee dancing the same length of time before their arrival. There were also four days of dancing on the Menominee Reservation when tlie drums were presented and four days of dancing together after the ceremony. So great is the veneration in which the drum and its ceremonies are held that there has spnmg up what is called the '* drum religion." This does not supplant the Mde' (Grand Medicine), but introduces a new element. The Mlde' ^ has regard chiefly for the individual; its aim is to seciu^e health and long life for him, and its instructions con- cern his own character. Its precepts regarding the relation of man to his neighbor (so far as observed) are connected with the cure of illness and general rectitude of conduct. The "religion of the drum" incul- cates a developed and broadened sense of responsibility and con- cerns peace between peoples who have been at enmity. The cere- monies of the Mide' are not marked by extreme ritual exactness and some latitude is allowed the leaders in the choice of songs as well as in the text of their discom^es, but in the ceremonies connected with the drum certain songs and no others must be simg, and dancing once begun must be continued the prescribed length of time regard- less of conditions. The central idea of the " drum religion" is that of peace, yet mingled with this idea is law, rigorous and inflexible. The Chippewa say that the drum and its "religion'' came to them from the Sioux many years ago, but it came to them also tlirough development of character, as a step in the progress from the childhood toward tlie manhood of a race. 1 S. A. Barrett, Dream Dance of the Chipx)ewa and Menominee Indians of Northern Wisconsin, in BuUetin of tlie Ptiblic Museum of the City of yPilwaukee, vol. 1, art. 4, 1911, pp. 251-371. Cf. also section entitled "The Dreamers," In The Menomini Indians, by Walter James Hoffman, M. D. (FourUerUh Ann. Mep, Bur. Ethn., pt. 1, pp. 157-161. 3 See Bulletin 45, p. 13. 142 DBNSMOBB] CHIPPEWA MUSIC — ^n 143 No attempt has been made herein to analyze this "drum religion/' but the attitude of the Indians toward it is indicated by the follow- ing statement of Wfe'kXno (''bird ") , the Menominee chief to whom one of the Chippewa drums was given. Referring to his position as owner of a drum, Wfe'Mno said:* I will keep this drum in my house. There will always be tobacco beside it and the drum pipe will always be filled. When I smoke at home I will use the pipe that belongs to the drum. My friends will come to my house to visit the drum. Some- times my wife and I will have a little feast of our own beside the drum, and we will ask the drum to strengthen us in our faith and resolution to live justly and to wrong no one. When my wife and I do this alone there will be no songs. Only special men may sing the songs of the drum, and my part is that of speaker. When asked how often his friends came for this purpose, he said: We visit the drum about every fourth night and sing a few songs. Any persons who desire may come and each brings a gift of tobacco. The owner of the drum is the only speaker at these small gatherings. He speaks as representative of those who come, and presents the tobacco to the drum, after which it is given to the singers who sit at the drum. It is said that many generations ago the Sioux gave to the Chip- pewa a lai^e drum similar to the one used at the present time in the ceremony here considered, taught them the "songs belonging to the drum,'' and related to them the tradition concerning its origin. It is believed that permanent peace between the two tribes was a result of this presentation of the drum. Following this presentation, in accordance with the instructions which accompanied it, the Chip- pewa made similar drums, which they afterward gave away, with the proper songs. In presenting a drum it is customary for the giver to relate his individual dream to the recipient, thus adding to the value of the gift and strengthening the bond between the two men. The tradition concerning the origm of the drum was a subject of inquiry among the Lac du Flambeau Chippewa, the Bad River Chippewa on the La Pointe Reservation in northern Wisconsin, and also among the Menominee. Ten or twelve informants agreed on the principal features of the account, all stating that a woman was the means used by the manido' ' in giving this type of drum to the 1 This and other speeches by Wlsldno were interpreted by Mr. Frank Ookay, a prominent member of the Menominee tribe. s The word manido' (spelled also manito) is defined by Baraga as ''spirit, ghost.'' The following explana- tion of the word in some of its compounds was given by Rev. J. A. Oilfillan: KVjlef 7nanid(/, literally, "he who has his origin from no one bat himself, the Uncreated Ood"; 3f<2n' that which is so astonish- ing as to be considered superhuman; Manidt/ wdb^ the name of a man, meaning, " he looks through the thing as Ood does, or with sux>erhuman insight'' ; Man'idoha'zo, he tries to make people belieye he has superhuman power, but he is an impostor. The same authority states that a small wild animal is called man'id»w(n»'t meaning " a poor, miserable little spirit,'' the explanation being that the little animal is not a clod of earth, as is shown by its running around, but has life, or "spirit." Na'waji'bigo'kwe, a member of the Mlde'wlwbi, said that the Gh^pewa believe in many manido', or spirits (see Bulletin 45, p. 21), the highest of all being called Ki'jiS' manido', and that there are four manido' connected with the Mlde', each being regarded as dwelling at a cardinal i>oint of the compass. Four MIde' manido' are mentioned in songs Nos. 16 and 24, Bulletin 45, .as "living in the four lasrers of the earth." The word is applied to animal^Ja the MIde' (songs Nos. 34 and 41, BnUetin 45), and a man who sees an animal in his youthful vision calls wat animal his manido ' and wears some part of the animal on his person as part of his "medicine." 144 BUBEAU OF AMEBICAN ETHNOLOGY [BiiLk58 Indians, thus securing peace between the Sioux and the Chippewa. They agreed also in the statement that the woman hid in the water four days, her face being concealed by a broad Uly pad. In minor details the accounts differ somewhat. The first part of the following account was given by a Lac du Flambeau Chippewa and the remainder by one of the Bad River Band Uving at Odanah, Wisconsin. These two narratives were the clearest and most authoritative secured by the writer, and they are given, combined, as nearly as possible in the words of the interpreters. When the Sioux were fighting the white men a party of them were closely puimied, and one woman, imable to keep up with the warriors, hid in a pond of water. There she stayed four days, submerged in the shallow water at the edge of the pond, with a lily leaf over her face. At the end of four days she heard a voice say, * * The people who have been killing your friends are about to eat; come and share their food." The woman was afraid to leave her hiding place. Soon she heard the voice again, saying, ''Come; I am calling you to come." At last she believed the voice and came from the water. The voice said, '' Keep right on this path and I will see you after a while.'* The next the woman knew she was among soldiers and eating with them. She could see them, but they could not see her. After eating she started in the direction her people had taken. Then she saw the person whose voice she had heard. He was a •manido^ and appeared in the form of a white man. He gave her directions for Tnalrmg the drum, taught her the songs which should be sung with it, and told her that by means of it the Sioux would make friends with all their enemies. He told her that the women could sing with the drum, but that only the men could dance around it; he also told her that when the first drum was finished he would come down to it and that two men must be offered to him in return for his gift of the drum. The woman told the men how to make the drum. When it was finished and the singers had learned the songs they all gathered around it. The instant that the drum- mers struck the drum for the first time ^ the manido^ appeared again and the two men who had made the drum fell dead beside it. It is said that the drums now given by one tribe or band to another are similar to the one made at the direction of the manido', and that the same songs are still sung. Thus the songs used at all important points of the Drum-presentation Ceremony witnessed by the writer were Sioux songs and were credited to the Sioux. When a drum is transferred the proper songs are carefully taught to the members of the new drum party by the leading singers of the party presenting the drum. During the dancing which precedes and follows the presentation each tribe sings its own songs, the Chippewa using certain of their war songs on these occasions. In accordance with this custom, typical Chippewa songs are interspersed with the Sioux ceremonial songs in the following narrative, but the songs of the two tribes are considered separately in the tabulated analyses. Drums of two types may be given in this ceremony. These differ slightly in size and in elaborateness of decoration. The lai^er is 1 A certain formality attends the first stroke on the drum nade by the person to whom the drum ii given (see p. 171).— F. D. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 63 PLATE DRUM AND STAKES USED IN DRUM-PRESENTATION CEREMONY DBNSMOBE] CHIPPEWA MUSIC — ^n , 145 called o'gima dewe'igHn (chief drum) and the smaller ogVtdida dewe'igHn (warrior drum). The chief drum, as the name implies, is usually given by one chief or leader to another and the warrior drum is presented by one member of the tribe to another. The word ''chief" as used in this connection refers to the leading man of a village or settlement and throughout the description of the ceremony the word ''warrior" refers to any of the men of the assembly. At the ceremony witnessed by the writer the chief drum was pre- sented to Wis 'kino, chief or "speaker" of the West Branch Settle- ment of the Menominee tribe, by Bi'jXkfins ^ ("small ox"), a promi- nent member of the Lac du Flambeau Band of Chippewa, and the warrior drum was presented to a Menominee from another part of the reservation by a Lac du Flambeau Chippewa. The chief drum (pi. 18) presented on this occasion was seen by the writer in the house of Bi'jXkfins. It was placed on a low box in one comer of the room; the box and the floor around it were covered with a clean white quilt. Beside the drum were the various articles belonging to it, the pipe filled and ready for use, and the drum- sticks in neat cloth cases. The drum and all that pertained to it were treated with greatest respect by Bi'jXkfins and his family. After some hesitation he gave his consent to the photographing of the drum and it was carried to the dancing circle by his son and his son-in-law (pi. 19), two of the men oflGicially intrusted with its care. The curved stakes supporting the drum were more than 3 feet in height and when in position were about 6 feet in span (pi. 18). The drum was 27 inches in diameter and about 12 inches in thickness. It had two heads of untanned hide decorated ahke — one half painted blue and the other half red, with a band of yellow near the edge of the blue segment.. The sides of the drum were concealed by a strip of red flannel edged with blue, which hung below the rim; this was deco- rated with pierced sUver disks. Around the upper rim was a band of otter fur 2 inches wide, with four loops of fur which served as handles for lifting the drum and also as a means of suspending it from the stakes when in use. Below the band of fur was a broad band of beadwork edged with a deep fringe of beads terminating in tassels and metal thimbles. Four ornaments of heavy beadwork decorated the sides of the drum. The stakes supporting the drum were com- pletely covered with beadwork and bands of otter fur. In a socket on the top of each were placed two large feathers, and each stake was tipped with the tufted end of a cow's tail and several ribbon stream- ers, blue on the stakes at the west and north and red on those at » This name is composed of two words, "W'jlJki," meaning originally "buffalo" and later applied to "cat- tle" (see pp. 63, 203), and **in8,'* a diminutive termination. The meaning of the name was given as " small ox," this being the more common translation of bi'jiki. G7996**— Bull. 53—13 10 146 BUREAU OF AMERICAN ETHNOLOGY [BULIi. G3 the east and south. Beside the drum were the four drumsticks used by the leading drummers, each covered with soft brown deerskin and decorated with a band of otter fur and long ribbon streamers. There was also a longer stick used only by the owner of the drum in a par- ticular part of the ceremony (see p. 171) . This stick was more than 3 feet long. Over the curved end was slipped the skin from the neck of a loon, its glossy black feathers dotted with white. The pipe belonging to the drum had a flat stem decorated with geometric drawings, with a tuft of red woodpecker feathers sunk in the wood (fig. 3). (The second pipe belonging to the drum, known as the warrior pipe, is not shown in the illustration, as it had been sent to Wis 'kino in anticipation of the cere- mony.) Beside the pipe are seen also a turtle shell, which contained apayosigHn' (tobacco mixed with the inner bark of the red willow) and a wooden box having three compartments; those at the ends contained, respectively, tobacco and red willow and the middle one contained matches. In a similar box are kept the feathers which decorate the stakes of the drum. There are also 8 or 10 ordinary drumsticks used by the drummers. Four years ago this drum was given to Bi'jYk&is by a leader of the Bad River Chippewa. Although he has parted with it, Bi'jlkSns retains the right to make dupli- cates and to give them away at any time. In connection with this right the following incident came to the writer's notice: A few weeks before the presentation of the drums to the Menominee a drum was given by Mec'kawiga'bau to a Chippewa at a neighboring settlement. Mec'kawiga'bau stated that he intended to make a dupUpate of the drum during the coming winter and to give it away the next summer. According to him there are no songs or cere- monies connected with the making of a drum, but the songs used in connection with the new one must be those he received with the original drum. He did not receive the drum in the usual manner. It had been given to Me'dweya'sAfi (see p. 249), the chief of the Lac du Flambeau Chippewa, whose advanced age rendered him unable to discharge the obhgations associated with it. A few months before his death, there- fore, he gave a dance at which he made a speech saying that he was very feeble and wanted the drum to be in safe keeping, but that he was not strong enough to visit some other settlement in order to present it to the people. As he did not want to impose that duty on his children in the event of his death, he publicly transferred the drum to Mec'kawiga'bau, who was willing to assume the responsibiUty. Fig. 3. Stem of the drum pipe. DENSMOBE] CHIPPEWA MUSIC — II 147 Drums of similar design have been seen by the writer on the White Earth, Leech Lake, and Red Lake Reservations in Minnesota. These, which were said to have been received from the Sioux, were used in the social dances. At Waba'cXflg settlement, on the Red Lake Reservation, the drum was suspended from crotched sticks (see p. 252); in all other instances it rested on the ground. No decorated drumsticks were used, there was no pipe belonging to the drum, and its significance as a peace symbol seemed to have been lost. It is reported, however, that occasional ceremonies of drum- presentation are still held in remote parts of the Minnesota reserva- tions. The Chippewa of Minnesota are in frequent contact with the Sioux, the two tribes advancing side by side in civilization. In Wisconsin the contact is less recent and more of a glamor is thrown around the past, the old men telling how in former days the war canoes of the Sioux came up the Chippewa River from the Mississippi. A drum party originally consisted of 29 persons and it was not customary for a person to "belong" to more than one drum. At the present time, however, it is necessary for each of the good singers to belong to more than one and even for the same person to hold more than one office in a drum party. The complete personnel of such party is as follows: The chief of the settlement; the owner of the drum; the speaker; the aid (oc'kabe'wls) ; the manager of the dancing hall or circle; five men who take care of the drum; the man who takes care of the drum pipe (used by the drummers) ; the man who takes care of the warrior's pipe (used by the dancers) ; the chief drum- mer and singer; four leading drummers and singers (one being seated at each ''leg'' of the drum) ; four leading women singers (seated behind the leading drummers) ; four assistant women singers (seated between the leading women singers) ; four leading dancers (said to be "one for each 'leg' of the drum") . There are also other singers and drummers. During a ceremony the chief drummer is usually seated at the western side of the drum and at his right hand are placed the drum pipe, the turtle shell filled with apdk'osigiln (tobacco mixed with red willow bark), and the other articles belonging to the drum. He it is who starts the songs and leads the singing. The leading drum- mers are seated by the four stakes, or "legs" supporting the drum, and between them are the singers and drummers of less importance, who have no permanent seats. The women form a large outer circle, sitting with bowed heads, their mouths covered by their hands or shawls. The singing of the women, which is entirely through the nose, gives the melody with clear intonation, an octave above the voices of the men. The octave appears to be a natural interval between the voices of men and women when singing together. It is possible that the perception of the octave as a pleasing musical 148 BUREAU OF AMERICAN ETHNOLOGY [bull. 58 interval may have come to the Indians from this source. The promi- nence of the octave in Chippewa melodies is noted on page 4. The chief of the band, owner of the dnun, speaker, and the four leading dancers sit on the long seat which surromids the dancing hall or circle. The aid sits alone at a little distance, ready to act as mes- senger. Those who take care of the drum and the pipes have no official duties during a ceremony and are usually seated with the drummers. As the gift of a drum involves the return of gifts supposed to equal in value the drum and the presents bestowed by the original drum l)arty, it is customary for the man presenting the drum to ascertain from the one to whom he wishes to present it whether the latter desires to assume the obligations associated with its acceptance. This is done several months before the drum is to be given. It is the duty of the recipient to see that a suitable quantity of gifts is presented to the drum party at the ceremony, that one or more feasts are pro- vided for the guests, and that their camp is suppUed with food during their entire stay. At some later date he must return a full equiva- lent of gifts to the donor of the drum. A year or two may elapse before he is prepared to do this. When he is ready he sends a mes- senger to the donor, and shortly afterward visits him with a laige party carrying the gifts. About 10 days before the presentation of the drums by the Lac du Flambeau Chippewa to the Menominee two messengers were sent with the warrior pipes belonging to the two drums. Before they left Lac du Flambeau a dance was held, the final song being the Sioux song of departure sui^ at the close of all the gatherings con- nected with the Drum-presentation Ceremony. All the ceremonial songs given in connection with the following narrative were sung by Mec'kawiga'bau (pi. 20), one of the promi- nent singers of the tribe. As he was the leading singer of the drum presented by Bi'jikfens, these songs represent those of a chief drum; the songs used during the presentation ceremony of the warrior drum were different, although they have the same general characteristic. BUREAU OF AMERICAN ETHNOLOQV BULLETIN B3 PLATE » MEC'KAWIGA'BAU DENSMORE] CHIPPEWA MUSIC ^11 149 No. 54. Song of Departure Sung by Me^ckawiga^bau Voice J =76 Dbum Jn76 ( Drum-rhythm similar to No. 2 ) (Catalogue No. S. 1)' Ei^ m T^V- r^,^ rj i 'ij ^™ 8 5 S m^^ tr j^ h" ^mu tj - rj I I Analysis, — The three renditions of this song recorded are uniform throughout. The time is not rigidly maintained, but varies in cor- responding measures in the several renditions. The intonation of the D flat in the opening measures was faulty in the first two renditions, but practically correct in the third rendition (compare Nos. 129, 1 33, 146, 164). A faulty intonation on the interval of a second occurs also in Nos. 55, 61, 64, 145, I66.2 It is noted that the rhythmic unit occurs in both double and triple measures. The two messengers smoked the pipes with the two Menominee who were to receive the drums, and said that they would return with their people after a certain number of days and smoke the pipes again. This number of days was supposed to allow adequate time for the messengers to return and the people to make the joimiey. When the messengers reached Lac du Flambeau, active prepara- tions for departure were begun. It was the custom for each tribe to dance four days on its own reservation, and during this period the Cliippewa held a ceremony called the Restoring of Mourners, and, if occasion required, a Ceremony of Divorce. » Catalogue numbers preceded by S. refer to phonograph records of Sioux songs. * As this concerns manner of rendition and not structure of melody, the reference includes both Sioux and Chippewa songs. 150 BUREAU OF AMERICAN ETHNOLOGY [BirLL.63 At the presentation of the drum the tribes dance together for four days, and on the fourth day a D(^ Feast may be held for the further cementing of the peace bond. This feast was not held on the Menom- inee Reservation, but the writer witnessed it on the Leech Lake Reservation in Minnesota during the celebration of July Fourth, 1910 (see p. 173). A Dog Feast may be held independent of a Drum-pres- entation and is of somewhat frequent occurrence on the Wisconsin Reservation. On the first day of dancing on their own reservation the Chippewa sang a series of five songs, called, respectively, the Song of the Chief, Song of the Speaker, Song of the Owner of the Drum, Song of the Warriors, and the Song of Giving Away the Drum. These were also sung at the opening of the ceremony on the Menominee Reser- vation, and if the final foiu* days of dancing had been held at Llac du Flambeau these songs would have been repeated at the beginning of that period of the ceremony. No. 55. Son^ of the Chief Sung by Mec^kawiga^bau (Catalogue No. S. 2) Voice J = 88 Dbum J =96 ( Drum-rhythm similar to No. 2 ) ^-^ r a f f-t-a r \ Lj*t ^-^ ^ | QJJ.Ln J .J. I I Analysis, — ^All the renditions of this song show faulty intonation on the interval of a second in the opening measures, in some instances the upper tone being flatted and in others the lower tone being sharped. This uncertainty suggests that it may be difficult for the singer to adapt his voice to so small an interval (see Nos. 54, 61, 64, 100, 146, 166). The interval of the eleventh was sung with reasonable accu- racy in beginning the repetitions of the song. In the first two meas- ures the harmonic tone is approached by the tone above, which is accented; this characteristic leads to the classification as melodic with harmonic framework of a song which otherwise would be classi- fied as harmonic in structure. The song contains only the tones of the minor triad and fourth. DBNSMOBB] CHIPPEWA MUSIC — ^n 151 No. 56. Song of the Speaker Sung by Mec^kawiga^'bau (Catalogue No. S. 3) Voice J =184 Dbum Jzr 80 ( Drum-rhythm similar to No. 3 ) ^■ ^ f i f f f , f r-r . f f.f f . f^ ^^^ % 2 ^ ^^m^^ 'fe ^ 1^ zz: nrr l flr r ^ lf^\f\^ Analysis, — This song is transcribed as it was sung in three rendi- tions. The first part of the song is distinctly major and the last part minor in tonality; therefore it is transcribed in the keys of D major and D minor. The F in the opening measures is clearly sung F sharp, and the F in the latter part is as clearly sung F natural; the C in the twelfth measure is sung C sharp in the first two renditions, C natural in the third, and between the two tones in the last. The rhythm does not vary in the several renditions. A half note followed by a quarter note occurs frequently but can scarcely be said to constitute a rhytkmic unit. The metric unit of the voice (indicated by J = 184) is very rapid. If each drumbeat were regarded as a quarter note the tempo of the drum might be indicated as J = 160, but the drumbeats are in groups of two; it is more convenient therefore to regard each drumbeat as an eighth note and indicate the tempo as J = 80. No. 57. Song of the Owner of the Drum Sung by Mec/kawiga^'bau Voice J =80 Drum J— 92 ( Drum-rhythm fidmilar to No. 2 ) (Catalogue No. S. 4) ^P ^in i ipj^.mrj I 152 BUREAU OP AMERICAN ETHNOLOGY [BULL. fiS Arudyais. — ^This is an instance in which the sharps at the beginning of the transcription should be regarded as indicating the pitch of certain tones rather than as implying an established key. Thus the song is transcribed as in the key of E major although the third of that key does not appear. The principal chords of the key of E accompany the melody in a satisfactory manner and the tones F sharp, C sharp, and D sharp are found in the melody. No. 58. Song of the Warriors Sung by Mec/kawiga^bau (('atalogue No. S. 5) YoiCB J =108 Dbum J =116 ( Drum-rhythm similar to No. 16) m m -V- Wffi Analysis, — ^This song is characterized by the approach to an har- monic tone by means of the tone above it. The melody tones are those of the fourth five-toned scale and the trend of the song is an almost unbroken descent. Four renditions were recorded, which are uniform in every respect. No. 59. Song of Glytng Away the Drum (Catalogue No. S. 6) Sung by Mec^kawiga'bau Voice J =80 Drum J =80 ( Drum-rhythm similar to No. 2 ) at ^ f £f it I D^ C J^tj ■ I £J ■ :: ,^ ^^ff DBNSMOBB] CHIPPEWA MUSIC II 153 Analysis. — ^The intonation of the opening measures of this song was faulty in all the renditions. The melodic tones are those of the fourth five-toned scale and the trend of the melody is steadily down- ward. Although strongly rhythmic in character, the song contains no unit of rhythm. Ceremony of Restoring the Mourners The ceremony called Restoring the Mourners, usually held during the preliminary days of dancing, begins on the first day, if possible, in order that those whose period of mourning is formally ended may join their friends in the remainder of the dance. This ceremony was witnessed by the writer at Lac du Flambeau October 16, 1911. It was held in the dancing inclosure of the Lac du Flambeau Chippewa, which is situated on a knoll overlooking the Indian village; this inclosure is surroimded by a high board fence (see pi. 19). Four drums were placed at intervals aroimd the circle and beside them were seated their respective drummers and singers. E'niwtlb'e ("sits farther along"); leader at one of the drums, had painted the lower half of his face black, as a token of mourning. At this ceremony the period of mourning of four persons — a man who had lost his wife, two young women who had lost children, and an aged woman who had lost her husband — came to an end. AU these deaths had occurred since a similar gathering of the tribe, the period of mourning usually lasting from six months to a year. Dur- ing that time a mother who has lost her child carries a cup tied in a cloth around her waist. This sl\e frequently fills with berries or some other delicacy and places beside her "for the child." After a little while she gives the food to some needy person and replaces the cup in the cloth. The mourners were seated in the center of the circle. The women were newly arrayed in bright dresses and gay shawls. The man wore a bright blue, shirt with beaded sash. Even the aged woman was dressed in bright colors and her hair was tied with a gay ribbon. These brilliant colors contrasted sharply with the evident sadness of the mourners, who sat with downcast eyes. At intervals some one stepped forward and hung a bead chain around the neck of one of them or laid a bright garment or shawl at his side, but the gifts were received without response. It Was a strange scene. Looking beyond the inclosure one saw the towering pines, majestic in outline but wondrous in soft shadows; to the right lay the scattered cabins of the Indians grouped on the shore of the lake, and at a little distance was another hillside on which were the smaller cabins of the dead. Above all was the bluest of October skies. Some said the ceremony was pagan, yet in it was 154 BUREAU OP AMERICAN ETHNOLOGY [BULIt. 68 mingled all that is deepest and most tender in himian life. The leader of the ceremony was White Feather, who is highly- respected by both Indians and white men. On being asked his ''Indian name'' he gave, not the Chippewa equivalent of White Feather (Wa'bXckigwttnO, but Odja'nimwe 'wegijJgons'.* At the opening of the ceremony a woman brought water and soap, which she placed before the man who had lost his wife. He washed his hands, drying them on a towel which she offered for the purpose. A man then parted his hair and combed it very smooth, while the following song was sung at one of the drums. No. 60. Song of Restoring the Mourners Sung by Mec'kawiga^bau Voice /= 176 Dbum J = 88 ( Drum-rhythm similar to No. 2 ) (Catalogue No. S. 7) fvfp p|f' r t£J: ^^g ^ + + V 1/ IX ^m Analysis. — This song is characterized by a very rapid tempo and by measures containing five counts. A few measures in quadruple time break the monotony. It is worthy of note that the interval of an octave and a fourth is compassed in three measures. After a short time a woman brought water and offered it to one of the women who had lost a child, this being done also for each of the women while the same song was sung at one of the drums. When this was finished White Feather rose and said:^ 1 The meanini^ of the componeiit parts of this word are as follows: odja^nim signifies a disturbanoe; wewe is a root Implying a swaying motion (see footnote 2, p. 241); and gi'jig in proper names Is asually translated ''sky." The last-mentioned part of the word is found also on p. 249, with the prefix kitei, " large." Hence the name as analyzed thus far may be translated " sky in commotion." The termizift- tion ons in some cases indicates that the bearer of the name was small in stature, but more often that his father bore the same name. (Of. pp. 76, 145.) * This and other speeches made by White Feather were given the writer at a later date by White Featfatr himself and are transcribed in the words of the interpreter. DRNSMORR] CHIPPEWA MUSIC ^n 155 A person who believes in the drum and has lost friends can not go to a dance unless he is invited, but I asked that these mourners be invited. I came myself and spread my own blanket on the ground for them, and I asked the warriors that they be invited and their mourning ended. When I did this I knew how this ceremony should be conducted. I thank my people and Manido^ that the warriors are so generous as to bring these mourners here to share our happiness. A woman then stepped forward and painted a row of dark blue dots below the eyes of the man who had lost his wife. Before the painting of the two yomiger women White Feather made another speech somewhat similar to those which are here recorded. There is no prescribed pattern for the painting. The yoimger women were painted with a horizontal red line below the eyes, and on one the parting line of the hair was painted red. It was said, ''Red means blood (life), and the red paint is for long life.*' While the faces were being painted the following song was sung. No. 61. Song of Painting the Faces (Catalogue No. S. 8) Sung by MecKkawiga^b au Voice J =92 Dbdm J — 96 ( Drum-rhythm similar to No. 15 ) fif f - ^z jM— g ^ m p . ^>. tij T m ^ t^=£=£ ^ m 8 -Rr r , » »• » - 10 - — f—f-r — r r f T \ ^^ — r r r / f 1 4 r — i— i ' '^^ — =f-i ^Jl; cj. ~^m 8 Analysis, — This melody contains a peculiar grace and charm. The E in the opening measures was sung slightly below pitch (see Nos. 64, 55, 100, 145, 166). After the opening measures the song flows smoothly along the intervals of the second five-toned scale, with special emphasis and feeling of repose on the tonic. There is no imit of rhythm, yet the rhythm of the song as a whole is pleasing and well defined. The metric unit of the drum is sUghtly more rapid than that of the voice and seems constantly urging the voice forward. Four renditions were recorded, which are imiform in every respect. 156 BUBEAU OF AMERICAN ETHNOLOGY [bull. 53 The eldest woman among the mourners was White Feather's mother, who mourned the death of his father; for this reason it was deemed not fitting that he should make the speech which preceded the painting of her face, so he asked that one of the old men speak in his stead. An old man arose and, leaning on his staflF, said that he had fought in the Civil War. He told of his bravery as a soldier and said that he would give to this moxmiing woman the strength and power which upheld him on the field of battle. He then handed paint to a woman, who, kneeling before the aged mourner, traced scarlet lines on her thin face. It is said that a man who has distinguished himself in war may give the full result of his prowess to a friend in this ceremony, and yet by so doing not lose it himself. If he is entitled to wear a feather, he may give his friend the right to wear a similar feather, and even to point to it saying, '* / was as brave as that." Sometimes the right thus generously shared was won at the risk of the man^s life. The following song was sung during the ceremony. Voice J = 84 I>RnM J = 84 (Drum-rhythm similar to No. 2) No. 62. Mourners' Song Sung by Mec/kawiga'^bau (Catalogue No. S. 9) © a^ M ^£^— ^ iJ^ I >,: t/ f ||Yif"|j^ 9:j};L-f LJ I 1 14 ftj ^ Analysis. — ^The metric unit of this song is imusually slow and was not maintained with absolute regularity. The three renditions recorded show no variation. The rhythm is less interestii^ than in many songs of the present series, but was clearly marked and accu- rately repeated. The song is minor in tonality and has a range of 12 tones. OBNSMORB] CHIPPEWA MUSIC — H 157 When the painting of the faces was finished, White Feather thus addressed all the mourners: Lift up your eyes. Look at your friends sitting around you so gaily arrayed. If you still look down your sorrow will not leave you. Do not think so much about your sorrow and that you, too, will soon die. It is true that we all must die, but we shall meet afterward. You must not cling to your sorrow nor hold an unkind feeling toward anyone. Have faith in yourselves and people will think more of you and Manido^ will help you. There are no enemies around you. Think only of what is good. The rSWrners were then led to their respective seats, those who belongedPiSb one of the drum parties being seated at the drum and the others be&g placed with friends at the edge of the circle. From time to time additional gifts were silently laid beside them, but they made no response, sitting with downcast eyes or sadly touching the gay Uttle trinkets. On the evening of the day following the ceremony of Restoring the Mourners the writer went again to the Lac du Flambeau village. The Indian village is about 4 miles from the Grovemment school, but the drum could be heard distinctly and, as there was a full moon, it was thought possible that the Indians were dancing outdoors. On arriving at the village, however, the bright light in E'niwtlb'e^s window and the sound of the drum indicated where the Indians were gathered. The house is small and in beating the drum the In- dians make little difference whether they are beneath a roof or the dome of the sky. The four or five drummers, seated aroimd the warrior drum which would be presented to the Menominee, played and sang right heartily. A drum of similar type was on a table, the decorations of the two instruments forming spots of vivid color. A few women were seated on the floor behind the drummers, with heads bowed and their shawls held over their mouths as they sang in a weird, high falsetto. From time to time the men sitting in the room rose, and danced in their places with a bending of the knees and a rhythmic shifting of their weight from one foot to the other. There were soft brown tints of impainted wood, dull colors of weatherworn garments, and a bit of brilliant green where E'niwtlb'e's familiar blanket hung against the wall. The dark faces were grave with the import of the dance and the lamplight cast strange shadows. It was a scene long to be remembered. Chippewa war songs were simg during these dances. It was stated that all war songs could not be used, but that the following three songs were frequently sung at the dances preceding or following the presentation of a drum. 158 BUBEAU OF AMERICAN ETHNOLOGY [BULU 53 No. 68. ''The Sound Comes PleMlngly Sung by £^niwOb^k YoiGB J = 100 Drum J =112 ( Drum-rhythm similar to No. 19 ) (Catalogue No. 423) Ge - bi - o - dja- min -we -we gi-jlg0 ge-bi- moe ^=3: ^-J^^-jJ m 1C2=pr ^ ki - ne - fi - ci - yan gi - jig e \^>^^tU+j:^^mnim ryt-im WORDS gebi^ odja^ minewewe'' the sound comes pleasingly gi'' jig acT(KS8 the sky gebi^ mockine^ aciyan^ filling the air Analysis. — This is the dream song of a man who had a vision of the thimderbird. On hearing thunder he took tobacco in his hand, and, holding it toward the sky, said to the storm, "Gro aroimd that way,'* tossing the tobacco in the direction he wished the storm to go and singing this song. The three renditions recorded show no variation. The melody contains the tones of the fourth five-toned scale and is melodic in structure. DENSMOBE] CHIPPEWA MUSIC — ^n 159 No. 64. "The Bayens are Singing" (Catalogue No. 424) Sung by S^'niw^^'e Voice J =120 Dbum J =120 ( Drum-rhythm similar to No. 19 ) U' cr' i r II Ka-ga - gi-w% e ka-ga - gi-wtig e na-gftm - o-wtig gi - ^s ^ jlg-uflg a fflnirc^P^^^^rTm WORDS kaga^giw(ig the ravens na''g(imo^w- ; 1(3?- t I Analysis. — ^This song begins on the seventh and the opening meas- ures do not suggest the chord of F, which characterizes the dose of the song. It is interesting to note, therefore, that the several rendi- tions were begun on the same tone, the transition from the close of the DENSMORKj CHIPPEWA MUSIC ^n 173 song to the beginning being made with no break in the time and no apparent difficulty. The last tone in the first and fourth measures was slightly prolonged, while other tones also were prolonged but for periods too small to be indicated. All these variations from exact time were uniform in the several renditions. The song is major in tonality, melodic in structure, and contains all the tones of the octave. Dog Feast A Dog Feast is sometimes held on the fourth day of a drum-presenta- tion. Such a feast was not held on the Menominee Reservation, but the writer witnessed one on the Leech Lake Reservation, Minnesota, during the celebration of the Fourth of July, 1910. Only Chippewa took part in this ceremony, two of them enacting the part of Sioux who were said to be "teaching them the ceremony." It was stated that the ceremony had been received from the Sioux and that the feather garments worn by the four leaders were given to the Chip- pewa by the Sioux about fifty years ago. The songs of the Dog Feast (sung by Mec'kawiga'bau) were recorded at Lac du Flambeau in October, 1910. His description of the ceremony as given on that reservation corresponded with the ceremony witnessed in Minnesota, and it may be assumed that the songs he furnished are the proper ones. The four chief actors in the ceremony were two Chippewa repre- senting respectively the oc'kabe'wts (aid or messenger) of the entire Drum-presentation Ceremony and the oc'kabe'wls of the Dog Feast, and two Chippewa representing the Sioux. These men wore elabo- rate native costumes, and feather garments of the kind described on page 168. The ceremony was held late in the afternoon. A large number of Qiippewa were seated around the dancing circle, many having come from other reservations to attend the ceremony. The first song was sung as the messenger of the Dog Feast brought in the kettle containing the cooked dog. He placed this kettle near the entrance of the circle and danced during the song; when the song was finished ho removed the kettle to the western side of the inclosure. No. 72. First Song of the Dog Feast Sung by Mec/kawioa'^bau Voice J ==80 Dbum J =88 (Drum-rhythm similar to No. 19) (Catalogue No. S. 13) i^ta £ X ^ •T^ ^i g-f~£i^"E ita:L£ 174 BUREAU OF AMERICAN ETHNOLOGY [BULL. 58 Analysis. — This song was sung with great vibrato. The rhythm, which was clearly given, was uniform in all the renditions, but the time was not maintained with absolute regularity. The following two songs were sung with no pause between them. During the first song the four men knelt on the ground, the two oc'kabo'wfe on one side, and the two men representing the Sioux on the other side, of the kettle, at a distance of about 6 feet. As the song was sung they raised their arms high above their upturned faces, then lowered them until the palms of their hands almost touched the ground. This was repeated five or six times, the sweep- ing downward motion of the arms being simultaneous. Then the second of the group of songs was sung, the men rising and dancing around the drum, led by the oc'kabe'wis of the drum, with their hands extended in turn toward the north, east, south, and west. (Catalogue No. S. 14) No. 78. Second Song of the Dog Feast Sung by Mec^kawiga^bau VoiCB J = 88 Drum J = 88 (Drum-rhythm similar to No. 19) (1) (1) r. 1 ^-^ _ _ r 1^12 n*=£ tS-t^-f--^ ^^m S£h T 4:: m r-« •. Ep^ :ti: (2) (1) (2) •-f r . .' f - t w=rfmrfr \ (2) (1) Analysis. — This song contains two rhythmic units, the first occur- ring four times, the second three times. A pleasing eflfect is pro- duced by the succession of these units in the middle and latter part of the song. The rhythmic unit of No. 77 (S. 18) is similar to the second unit of this song and with one exception forms the only instance of duplication in either the present volume or Bulletin 45. The tempo of this song is slow; the song begins on the twelfth, ends on the tonic, and is melodic in structure. DENSMOBE] CHIPPEWA MUSIC ^n 175 No. 74. Third Song of the Dog Feast Sung by Mec^kawiga^bau (Catalogue No. S. 15) Voice J= 120 Drum J =104 ( Drum-rhythm similar to No. 19 ) (1) mm gajEgpg^gggpia^^g^ -<^ — h-fi^ I a^^^^i^^^g^^ 3 Analysis. — This song, like the preceding, contains two rhythmic units; the last measure of these is the same while the first measure is in double time in the first unit and in triple time in the second. In the latter part of the song the division of the closing measure of the second unit is slightly changed, and the sixteenth note followed by a dotted eighth is transferred to the measures intervening between the units. The two renditions of the song are exactly uniform, a fact which shows that the rhythmic structure of the song was clear in the mind of the singer. The song is minor in tonality and contains the tones of the second five-toned scale. The tempo of both voice and drum is more rapid than in the next preceding song. After dancing around the drum the four men side by side, with arms uplifted, advanced toward the kettle containing the dog. As they approached the kettle they lowered their hands, extending them over it. This was done several times, the men forcibly ejaculating ho ho Tio ho, as described in connection with the Mide^ ceremony.* The last time they lowered their hands rapidly, as though about to strike the kettle. This motion was the signal for the drumming and singing to cease. The following song was sung during this part of the ceremony. ■ — . , . , ^-^ 1 See Bulletin 45, p. 44. 176 BUBEAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 76. Fourth Son^ of the Dog Femst Sung by Mec'^kawioa^bau VoicB J^_88 Drum J _88 ( Drum-rhythm similar to No. 10 ) (Catalogue No. S. 16) Bg±a±E 1 £ n Analysis, — ^The three recorded renditions of this song are uniform in every respect, the repetitions beginning with correct intonation and without break in the time. The opening measures in 5-4 time contain no secondary accent and are readily distinguishable from the triple measure followed by a double measure, which occurs later in the song. Attention is especially directed to the progressions in the fifth measure; these intervals were correctly sung, the accidental being given firmly and accurately. The song is transcribed in the key of C minor, but the fifth of that key does not occur in it. This song was followed by a dancing song, the oc'kabe'wls signaling all to rise and dance. (Catalogue No. S. 17) No. 76. Fifth Song of the Dog Feast Sung by Mec^kawiga^bau VoiCB Jr=88 Drdm J— 96 ( Drum-rhythm similar to No. 2 ) mi t 1^ >i [I — f 4i- =t:: iS-t^] ptp ir=W. Analysis. — ^A 6-4 measure characterizes this song, the only change of time being at the close, where three measures in double time occur. (Compare No. 78.) The tempo was strictly maintained in thosQ DBN8MOB11] CHIPPEWA MUSIC — n 177 double measures and the repetitions of the song began without a break in the time. It should be noted that the phrase which occurs on the fourth and fifth counts of the third measure is used on the third and fourth counts of the following measure. Three renditions of the song were recorded, which are uniform in every respect. The song is based on the fourth five-toned scale and is melodic in structure. After the song was ended the oc'kabe'wfe of the Dog Feast took a small piece of meat from the kettle. It was said that he selected the piece nearest the head of the dog and that he took it on a small spoon fastened at the end of a long stick. After dancing around the drum he presented the piece of meat to the owner of the drum, who accepted and ate it. The following song was sung as the oc'kabe'wXs danced alone around the drum. (Catalogue No. S. 18) No. 77. Sixth Song of the Dog Feast Sung by Mec'kawiga^bau VOICB J =104 Drum J =104 (Drum-rhythm similar to No. 2) ^^ ^4^ ^ t m. n Analysis. — The rhythmic unit of this song is the same as that of No. 73. The four renditions of the song recorded show no variation. All the tones of the octave except the seventh are found in the song, which is major in tonality and melodic in structure. At the conclusion of the song the head of the dog was taken from the kettle and placed in a pan at the eastern side of the dancing circle. The oc'kabeVfe of the entire Drum-presentation Ceremony then danced several times around the drum, after which he selected four men from the assembly, leading them forward one at a time and seating them beside the pan. These were warriors of the tribe who had distinguished themselves by deeds of valor. They ate the meat from the dog's head as the following song was sung at the drum. 67996**— Bull. 53—13 12 178 BUREAU OF AMERICAN ETHNOLOGY [BDLIi.08 (Catalogue No. 8. 19) No. 78. Serenth Song of the Dog Feast Sung by Mec/kawioa^bau VoiOB J =88 Drum J =96 ( Drum-rhythm similar to No. 19 ) F-^4 ■+- - £i^^^^^=c X ^ m^^^M ^ ^±E^^ ^=1 — f ^i=i= ^ Analysis, — This song begins in 5-4 time and ends in double time. (Comj)are No. 76.) Four renditions were recorded. There was no break in the time throughout the entire perfonnance. The song is based on the fourth five-toned scale and is melodic in structure. Wlion the four warriors had fiiiished eating, they returned to their places, and the following song was sung. No. 79. Wftrrlors' Song Sung by Mec'kawioa'bau VoiCB J =88 Dbum J— 96 ( Dram-rhythm similar to No. 19) (Catalogue No. 8. 20) E^rj^i^j Lj^gg^ s t ^^ ii^SK ^S^^W^ ^^^^^^ Analysis. — The rhythmic luiit of this song occurs four times in a double, and once in a triple, measure. Four renditions were recorded. DBNSMORB] CHIPPEWA MUSIC — ^n 179 The repetitions were exact, but the time was not maintaiaed with absolute regularity. The song begins on the sixth above the tonic and ends on the fifth in the lower octave; thus about half the melody- is above the tonic and half below it. The song is melodic in structure and contains the tones of the fourth five-toned scale. After this song the warrior who was first selected danced around the dog's skull, which had been taken from the pan and laid on the ground. After danciug he made a speech regarding one of his most distinguished victories and sang a song commemorating the event. A similar course was followed by each of the three other warriors who had eaten of the dog's head. The following song is typical of this class of war songs. It was recorded by Mec'kawiga'bau, who learned it from the composer, a prominent warrior among the Lac du Flambeau Chippewa, Memen'- gwa (Butterfly) by name. No. 80. The Song of Butterfly Sung by Me(/kawiga^bau (Catalogue No. 437) VoiCB J = 84 Brum J =84 (Drum-rhythm similar to No. 2) r ^m %^^ E± 1 f± Bi- gi - ja - te gi - jig c tci- bi - na - ni - ba - wi - yan ^^S m g^^^F^^ ^~H d- H WORDS bi^ijate^ in the coming heat gi^'jlg oftheday. tcibinani^bawiyan'' I stood there Analysis, — In this melody it is interesting to note the influence of the rhythmic unit on parts of the song in which it is not repeated. Thus the sixth measure from the close of the song resembles the first measure of the rhythmic unit, the fifth and third measures from the close are similar to the last measure of the unit, and the measure next to the last is similar to the second measure of the unit. Obser- vation of many of these songs will detect separation of the rhythmic 180 BUBEAU OF AMERICAN ETHNOLOOT [mtllSS unit into phrases, cue or two of which are combined with other meas- ures to form the rhythm of the song as a whole. This song is classi- fied as melodic with harmonic framework. The metric unit is unusu- ally slow. Four renditions of the song were recorded; these show no important variation. At the C4)nclusion of this song the kettle containing the remainder of the dog was passed to the women of the company, some of whom ate small pieces. The kettle was then passed to the men and in a short time the feast was concluded. Returning to the narrative of the Drum-presentation Ceremony, as witnessed on the Menominee Reservation — the dav after the drum- presentation was completed the writer went again to the place where the Indians were assembled. The Menominee had proved most gra- cious hosts, and the Chippewa had decided to remain four days longer. Custom required that each tribe dance four more days, and it was decided that they should dance together. It was a hospitable sug- gestion on the part of the Menominee, which promised much pleasure, but a gray cloud lay close to the horizon, and in a day or two the snow came, falling steadily in large, soft flakes. Several inches of snow covered the grt>imd, but still they danced, as custom required that the dancing, once begun, be finished. More difficult than the dancing was the weary tramp of 20 miles which the Chippewa must take in order to reach the railroad. Their packs were lighter than when they came, for the gifts they then car- ried had been given away and the Menominee had not yet returned the full equivalent, and, further, quantities of provisions had disap- peared. The shawls which seemed a burden when the sim shone so warm were but a scanty protection from the keen north wind. It was a rather forlorn company that returned to Lac du flam- beau; yet it was something to have been for a little while on the heights and to have given two drums to the Menominee. D1BN8M0M] CHIPPEWA MUSIC — ^n 181 Sioux Songs of Drum-presentation Ceremony Melodic Analysis TONALITY Numbers Per cent. 55 45 Serial Nos. of songs Major Minor 11 9 56, 57, 58, 59, 70, 71, 72. 76. H, 78, 79 54, 55, 60, 61, 62, 69, 73, 74, 75 Total 20 ■ BKGINNINGS OF SONGS On the twelfth.. On the fifth On the Seventh. On the tenth On the ninth On the octave.. On the seventh. On the sixth.... Total I Numbers Per cent. Serial Nos. of songs 2 10 62,73 3 15 57,60,76 1 5 55 2 10 74,75 2 10 72,78 6 SO 64.56,60.61,70,77 1 5 71 3 15 58,50,79 20 Note.— The Chippewa war songs occurring in the Drum-presentation Ceremony (Nos. 63, 64, 65, 66, 80) are included in the tabulated analjrsis of war songs on p. 195, and the divorce songs (67, 68) are included in the songs analyzed on p. 242. ENDINGS OF SONGS ' Numbers Per cent. Serial Nos. of songs On the tonic 13 6 1 65 SO 5 55, 56, 60, 61, 62, 69, 70, 71, 72, 73, 74, 75, 77 On the fifth 54,57,58,76,78,79 On the third - . 59 Total 20 TONE MATERIAL Second five-toned scale Fourth five-toned scale Octave complete Octave complete except seventh Octave complete except seventh and second Octave complete except sixth Octave complete except sixth and fifth Octave complete except fifth and second . . . Minor triad and fourth Other combinations of tone Total Numbers Per cent. 3 15 6 SO 2 10 2 10 1 5 2 10 1 6 1 5 1 5 1 5 20 Serial Nos. of songs 69,73,74 58.59.70,76,77,79 64,71 72,78 62 56,61 75 75 55 60 182 BUREAU OF AMERICAN ETHNOLOGY [BrLL. 53 Melodic Analysis — continued ACCIDENTALS Kumbers Songs containing no accidentals . Songs containing seventh raised a semitone . . Songs containing sixth raised a semitone — Total 18 1 1 20 Serial No8. of songs 54, 55, 66, 57, 58, 60, 60, 61, 62, 70, 71r72,73, 74, 76, n, 78, 79 75 69 STRUCTURE Harmonic Purely melodic. M^odic with harmonic framework. Total. INnmbers Percent.' None 17 US ! 3 15 20 Serial Nos. of songs 54, 56, 57, 58, 50, 60, 61, 62, 69, 70, 71, 72,73, 74,75,78,79 55,76.77 FIRST PROORESSION l)ownwar 4 1 20 45 ; 58. 59, 61, 62. 72. 73. 74, -S, 79 no \ 54.56.57,62,70,71 SO ' 55,75.76.77 5 60 DENSMOBE] CHIPPEWA MUSIC — II 183 Rhythmic Analysis — continued CHANGE OF TIME Songs containing a change of time. Songs containing no change of time. Total Songs containing a rhythmic unit Songs containing two rhythmic units. Songs containing no rhythmic unit .. . Total. Numbers 19 20 Percent. 96 Serial Nos. of songs 64, 50, 57, 58, 59, 60, 61, 62, 69, 70, 71, 72,73, 74,75,76,77,78,79 55 RHYTHMIC UNIT Numl>ers . Percent. 10 3 50 Serial Nos. of songs 54, 58, 60, 62, 70, 72, 75, 76, 78, 79 20 15 j 69.73,74 35 55,56,67,59,61,71,77 COMPARISON OF METRIC UNIT OF VOICE AND DRUM Num1)o.rs 7 13 Per cent. 5,9 (i5 Si'rial Nos. of songs Metric unit of voice and drum the same Metric unit of voice and drum different 54.59,62, n, 73, 75, 77 r.5. 56, 57, 58, 59, 60, 69, 70, 72, 74. 76, 78, 79 Total 20 SONGS OF THE LAC DU FLAMBEAU RESERVATION 111 tlie north-central part of Wisconsm, about 80 miles souiheast V)f Ashland, is the I^ac du Flambeau Chippewa Reservation, formerly yinder the La Pointe ^Vgoncy, but now in charge of the school super- inttmdo^il. it is a l)eautiful region of j)ine forests and quiet lakes. -A typiCial forest on the reservation is shown in plate 24. The prin- cii)al Chippewa village (pi. 25) Ls several miles from the agency. The ceremonies of the J^IIde'wXwIn are held regidarly and many other native customs are perpetuated. The gathering of wild rice forms an absorb- ing interest in autumn, followed by himting expeditions. Deer are plentiful on the reservation and bears are not infrequent trophies of the chase. With these native avocations is mingled much that has been taught by the Government, many of the Indians cultivating little farms and even shipi)ing potatoes with due regard to their market value. E'niwftb'e ("sits farther along"), plate 26, the singer of many songs in the present seric^s, is the owner of two houses, one in the Indian village, and one on his farm where he spends the summer. This farm of 4 or 5 acres is cultivated to the best of his ability. His house in the Indian village is ready for occupancy at any time, but he spends the long cold winter at his son's home near the agency. His ov^Ti team of horses furnishes conveyance for himself and family when there is a gathering of Indians on a distant part of the reservation. He has never comjJained of being cheated by the white man, for he has been able to take care of his own int-£#fT^?a, s^S WS ^m ±tt Analysis, — ^This song is particularly definite in tonality and force- ful in rhythm, seeming to retain some of the spirit of the warriors who sang it long ago. The song is characterized by syncopations, which are found but rarely in the songs under analysis (see No. 47 of the present book, and Nos. 123, 147, 152 in Bulletin 45). Attention is directed to the progressions above and below the tonic at the close of the song. No. 89. War Song (Catalogue No. 412) Sung by F/tiiwiiB^ja Voice JrrlI2 Drum Jz=1I2 ( Dmm-rhythni similar to No. 10 ) ^^:=i^^^ ^^f^^f-^^^--f^ ^^ S ?£ ^fr ^ ^^~it^ ^ 5e^: 1 r i t gp \ni \ i::^^ i Analysis, — ^This song consists of eight three-measure phrases, the rhythmic unit being accurately repeated except in the third and the last phrase. So slight a change as the use of two eighth notes instead of one quarter note (n'mth measure) swings the rhythm of the entire song clear of monotony and gives it character. Voice and drum have the same metric imit but the drum precedes the voice by DBNSMOUI] CHIPPEWA MUSIC — ^n 198 a perceptible interval of time. The tonic chord is the evident frame- work of the melody. From two of the four renditions the last six measures are omitted. No. 90. War Song (Catalogue No. 416) Sung by fi^Niwi^B^B VOICB J=: 116 Drum j=:133 ( Drum-rhythm similar to No. 19 ) Analysis. — ^The first measure of this song comprises a rhythmic unit; which occurs only twice but forms the basis of the rhythm of the entire song. (See Nos. 94, 96, 103, 108, 109, 115, 123.) The second measure contains the same division of the counts but is a double instead of a triple measure and the rhythmic unit is unfin- ished. The fourth and opening of the fifth measure contain the same division of the counts but with a change of accent. Five complete renditions were recorded with seven repetitions of the latter half of the song, the singer seeming to have no preference whether he began at the first or at the middle phrase in giving the repetitions. This peculiarity is occasionally noted in the performances of Chippewa singers. No. 91. War Song (Catalogue No. 417) Sung by fi^NiwCe^'E VOICB J rr 126 Drum J =126 ( Drum-rhythm similar to No. 19) ^murHi :f^^^ ■ I tr 'tj-t; ^u ^m^ ^m l 'm^- „4 J,Sbg £^ g^^CTE=^ ^ B 67996°— Bull. 53—13 13 194 BUBEAU OF AMEBIGAN ETHNOLOGY [BULL. 53 Analysis. — ^A strongly descending progression and a vigorous rhyth- mic unit characterize this song. A similarity between this and the next succeeding song (No. 92) suggests that they may have been com- posed by the same man, this being first in order of composition. It is a stirring melody, but lacks the smoothness and grace of No. 92. The rhythmic unit of the latter contains two measures instead of one, the division of the first measure being the same as that of the rhyth- mic unit of this song. No. 92. War Sonf^ (Catalogue No. 418) Sung by fi^NiwtyB^B Voice J =126 Drum J=;:126 ( Drum-rhythm similar to No. 19) rr:: — ^. . ^ — :n f s ^^Uf^^' ^ | tg £:^riT ^ :p * fifr-Ut J= ^^ N^ f^^>ifl R--^-f^rT rFrrT^^l ^i Analysis. — ^This is a particularly inspiring melody. The rhythmic unit comprises two measures and occurs five times with two quarter notes in the second, measure. A rhythm similar to that of the first measure occurs three times, but is followed by a measure containing time-values differing from those in the rhythmic unit. The melody tones are those of the second five-toned scale. This scale is usually associated with a plaintive melody, but the present example shows it to be adapted as well to a stirrhig war cry. The similarity between this and No. 91 has been noted in the analysis of the preceding song. DBNSMOia] CHIPPEWA MUSIC — ^n 195 No. 98. Wftr Song Sung by 6^niw<)b^e VoicB J = 108 Drum J =113 ( Drum-rhythm similar to No. 10 ) mi^^ ^-^ (Catalogue No. 420) i — » # " — # ■^9-'- I Cd'iiijOLXjiiaLjr^^ ^^ i [: j^ -g4fj m t mn^^^ -s. Analysis. — The efiFect of this song is rhythmic, yet we find no phrase repeated accurately enough to constitute it a unit of rhythm. The opening measure of the repeated part contains a succession of note- values in triple time, which is twice repeated in double time, and which forms an interesting example of freedom in rhythmic treatment. The song contains one accidental, which was sung distinctly in all the renditions. War Songs — Lac du Flambeau Reservation Melodic Analysis TONALITY Major... Minor... Total. Number of songs Serial Nos. of songs 63, 66, 80, 81, 84, 86, 87, 88, 91, 93 64, 65, 82, 83, 85, 89, 90, 92 Note. -The foUowmg songs, included in this table, are found in the account of the Drum-presentation Ceremony (pp. 158-161, 179): Nos. 63, 64, 65, 66, 80. 196 BUBEAU OF AMBBICAK ETHNOLOGY [BUUU 63 Melodic Analysis — continued BEOINNINOS OF BONOS Number otaangt Serial N08. of BongB On the twelfth On the fifth... On the tenth.. On the ninth.. On the octave. On the sixth.. Total... 04, 05, M, 80, 86,87,89,10 88,90 83, n 81 03, 82, 84, 85 91 ENDINGS OF SONGS On the tonic On the fifth. On the third Total. Serial Noa. of aoDiQi 04, 05, 00, 80, 81, 82, 83, 85, 80, 87, 89, 90, 92,93 03,84,88 91 TONE MATERIAL Second five-toned scale Fourth five-toned scale Major triad and second Minor triad and fourth Octave complete Octave complete except seventh , Octave complete except seventh and fourth . Octave complete except seventh and second Total Serial Noa. of aonga ACCIDENTALS Songs containing no accidentals Songs containing the seventh lowered a semitone Total > . . ■ . ■ , ■ ■■ ■ Serial Noa. of aonga 03, 04, 05, 00, 80, 81, 82, 83, 84, 86, 80, 87, 88, 89, 90, 91, 92 93 DINRMOBI] CHIPPEWA MUSIC — ^n 197 Melodio Analysis — continued STRUCTURE Harmonio Purely mekxUc Melodic with harmonic (raiiiewtMrk . Total. Number of songs Serial Nos. of songs 83 63, 81, 82, 84, 85, 88, 90, 91, 92 64, 65, 66, 80, 86, 87, 89, 93 FIRST PROGRESSION ]>own¥rard. Upward « Total. Serial Nos. of songs 63, 64, 65, 66, 80, 81, 82, 84, 85, 86, 87, 88, 1 91,93 83,90,92 Rhythmic Analysis PART OF MEASURE ON WHICH SONG BEGINS On accented part . . . On unaccented part Total. Serial Nos. of songs 63, 64, 80, 81, 82, 84, 87, 88, 89, 90, 92, 93 65,66,83,85,86,91 RHYTHM OF FIRST MEASURE Number of songs Serial Nos. of songs f^^MDM hMiTiTYfnp in Q-4 tim« 12 6 63,64,65,66,80,81,85,87,88,89,91,92 Bongs *^nf»ing In 3-4 tin***. 82,83,84,86,90,93 Total 18 CHANGE OF TIME Number of songs Soogs containing a change of time. containing no change of time. Total Serial Nos. of songs 63, 64, 65, 66, 81, 82, 83, 84, 85, 86, 87, 88, 90, 91,92,93 80,89 198 BUREAU OF AMERICAN ETHNOLOGY [BULL. 68 Rhythmio Analysis— contmued RHYTHMIC UNIT Number of soniQi Serial Nos. of aongB Sonfcs containing a rhythmic unit Songs containing no rhythmic unit 14 4 ffi, M, «5, 66, 80, 81, 83, 86, 86, 88, 80, 90, 01,92 82. 84. 87, 93 Total 18 - COMPARISON OF METRIC UNIT OF VOICE AND DRUM Number of songs Serial Noa. of songs • Metric unit of voice and drum the same 9 64, 80, 81, 83, 84, 86, 80, 91, 92 63, 65, 66, 82, 86, 87, 88, 90, 93 Metric unit of voice and drum different 9 18 Total Dream ! Songs The following is the dream song of a man who painted his face with charcoal and endured a fast of ten days. At the end of that time he dreamed that he saw clouds rising in the south. There were manido' in the clouds who spoke to him, saying, ''Brother, come here with us. " So the man went up into the clouds. There he saw the thimder- birds, who taught him this song which they were singing. No. 94. Song of the Thunderbirds (Catalogue No. 394) Sung by &iiiwtB^E VOIOB J=116 DbUM Jr=116 ( Drum-rhythm similar to No. 19 ) r ^ £ t ^ ^^^" ^nn LJ r 3 1 P^:*: ^ ± f £ ■8- -t P=?c^ '^ Ea bj ^ ' u^Wi' \ fU^ n ^^^^ D1N8MOU] CHIPPEWA MUSIC — h 199 Analysis. — ^This song is vigorous and clear in rhythm and tonality. The first 12 measures are based on the triad Gr-B flat-D, these tones occurring in descending progression in the third and eighth measures. The last five measures of the song are based on the descending chord Gr-D-B flat-G. The song is minor in tonality, yet the major third is the opening interval. (See Nos. 1, 9, 34, 83, 120.) The entire song is. thus shown to be harmonic in framework. The song contains four phrases of five measures each. The first phrase comprises a rhythmic unit, which is repeated practically without change in the second phrase. The third phrase (measure 3) shows a reversal of the couplet and triplet division which occurs in the corresponding measure of the rhythmic unit, the two following measures being practically the same as in the unit. The variations in the final phrase are readily dis- cerned. The variation of a rhythmic phrase is a feature of special importance in the study of primitive musical development. (See Nos. 90, 96, 103, 108, 109, 115, 123.) Other songs supposed to be the musical expression of uniTnAla are Nos. 34, 41, 58, 68, 88, 119, and 197, m BuUetm 45, and Nos. 95, 96, 97, 98, 99, 114, and 115 of the present work. The following song was heard by a man when he was fasting and seeking a dream. As he was walking around he heard voices which seemed to come from beyond a hill. Stealthily climbing this hiU, he saw a herd of deer standing in a circle. One said, ''Now we will dance. We always have a dance at this season, when the leaves have fallen from the trees.'' All the deer pointed to a little buck whose pointed horns rose somewhat higher than his ears, saying he should be the one to sing.; thereupon he sang this song. Thus the man learned it and afterward it became his dream song. He sang it when he himted the deer. There were two parts to the song: First, the little deer sang about himself and then about the other deer. Only the first part is transcribed, as the second was not an interesting melody. Before singing this and the two next succeeding songs the singer ''imitated the noise made by the deer." (See pp. 101, 203.) 200 BUBEAU OF AHEBICAK STHKOLOGY (BITLU63 No. 96. Sons ^^ ^^ ^^^ (*) Sung by fi'Niwto^B VOICB JrrlOi Drum J =104 ( Drum-rbythm similar to No. 2 ) (Catalogue No. 398) Ki-we-wi-na - ko-wi- n6 be - jTg ai-ya - b6 ki-we - wi-na - ko-wi -uS be-jigai-ya - bd ki-we - wi-na - ko - wi - n6 \^-L^ \ \^ ^ &L^A'i' \ \ be-jig ai-ya-be WORDS ki we^wina^owinS' straight-homed be^jXg one aiya'T)^ buck Analysis. — Although minor in tonality this song is bright and full of action. The descending interval of the fourth, which occurs fre- quently, has been noted in other songs concerning animals (see No. 22). The rhythmic unit, which is clear and vigorous, is foimd three times in this song. No. 96. Song of the Deer (b) Sung by fyNiwt^B''E Voice J =100 Drum J =108 (Drum-rhythm similar to No. 2) (Catelogue No. 402) WW- 2i>5,> LT f r r/fll g^ ^gl we-wi-na-ko-wi-ne be - jig ai-ya-bS Analysis, — This song, like the preceding, was heard by the man in his dream of the deer. The words are the same as in the preceding song. The first two measures contain four descending tones similar to the successive tones of the scale, a progression rarely found in the DBNSlfOBB] CHIPPEWA MUSIC — ^n 201 songs imder analysis. The interval of the fourth is prominent in the framework of this melody (see No. 22), the descending intervals D flat-A flat, A flat-E flat being similar to the intervals C sharp-G sharp, G sharp-D sharp in the preceding melody, yet this song is in the key of A flat and the preceding song is in the key of B, and the characteristics of the two melodies are entirely different. (See Nos. 105, 106.) This song contains no rhythmic imit, but the treatment of its opening phrase is worthy of observation. It will be noted that the phrase contained in the first and second measures is repeated in the fifth measure and in the first part of the sixth measure, with a change of accent. (See Nos. 90, 94, 103, 108, 109.) The same phrase occurs with other changes in the third and fourth measures. Similar to the preceding are two songs by another singer. The narrative concerning the first song is as follows: Long ago an old man made a feast and invited all the men and women. He did not teU them why they were asked ; he only said there would be a dance. When they were all assembled the old man who had asked them sang this song, which had come to him in a dream, and another old man led the dance, acting like a deer. The men followed him, acting like the buck deer and the women acted like the doe. In old times the hunters had a dance like this in the evening and went out to hunt the deer the next morning.' No. 97. Song of the Deer Dancing (Catalogue No. 433) Sung by Mec^kawiga^bau Voice J— 104 Dbum J =112 ( Drum-rhythm similar to No. 19 ) g^^^^B ^- 1 r ^m ^- Ti-bi-w6n-da ba - no-gw6n ai - ya b« ti - bi - wSn-da - ^P=i^ F S^S I n o T~ri ba-no-gw6n ai-ya - b6 ai-ya - b6 ai.ya - bfi WORDS ti'l)iw6nda''banogw6n'' whence does he dawn? ' aiya^bg the buck? Analysis. — ^The rhythm of this song is somewhat expressive of the dance and its pantomime. The interval of the fourth is prominent, as in many songs concerning animals. (See No. 22.) 1 Compare the dance of the warriors before a fight, imitating the action of the buffalo (p. 101); also the Imitation of the plover, in the pipe dance (p. 295). s This is an idiomatic phrase in common use among the Chippewa. It is not unlike the expression, '< Where did he spring from? " 202 BUREAU OF AMERICAN ETHNOLOGY {BVUL. 53 Voica J =108 Drum J =108 ( Dram-rhythm similar to No. 10) No. 98. ''My Shining HornB" Sung by Mec/kawioa^bau (Catalogue No. 434) Wfin-dji-we- ifc - sarko-nes-we-yan WORDB w^D^djiwe&^sako^nesweyan^ ,... my shining horns Analysis, — This song was said to represent the deer "walking alone, singing to himself, and proud of his shining horns." The melody is harmonic in structure and contains a short rhythmic unit. In general outline it presents a descending progression along the intervals of the tonic chord. It is minor in tonality and is based on the second five-toned scale. The six renditions recorded show no important variation. Like the two songs next preceding, this song had its origin in a dream. A man who was fasting is said to have heard the buffalo sing and to have learned their song. As he was wandering about he heard sounds which seemed to come from some gathering of Indians. On going to the place he saw a herd of buffalo walking in a circle, knee-deep in mud, with swaying heads and lashing tails; all were singing as they walked around. The Indian joined the herd and thereupon became a buffalo. For this reason they gave him the song which they were singing. OINSMOKB] CHIPPEWA MUSIC — ^n 203 No. 99. Song of the Buffalo Sung by &NiwtB^E (Catalogue No. 399) Voice J=:96 Dbum J =100 ( Drum-rhythm sunilar to No. 2 ) Bi - jl - ki - wdg ^e^^^g o we - ya - ka - ga - b(i - wi - wa - djin ^^ wa - do - ka - wa-gwa-nin - » 5 m^m e ?ie wa ni wa ni wa - do - ka - wa - gwa-nin - e d htoi 99 * 1. * a wi hi a hwi d WORDS bi'jXki'w%^ the buffalo we^yaka^gabAwiwa^djin as they stand in a circle vra^doka^wagwa'^nlne I join with them Analysis, — Except in the last nine measures, the principal tones of this melody are those of the triad of F sharp minor; the song is there- fore transcribed in that key, although the second and seventh of the key do not occur. This is an instance in which "key'' can scarcely be said to exist, and the signature should be understood as indicating merely the pitch of certain tones. The formation of the melody is essentially that of successive intervals, in a descending progression: First, C sharp-A, second A-F sharp, and lastly F sharp-D. As an example of interval formatir)n this offers an interesting contrast to songs based on the interval of the fourth (see No. 22). Although the song is minor in tonality, it is found that 50 per cent of the intervals are major thirds, the song containing 18 intervals and 9 minor thirds (see Nos. 29, 83). Before the rec<3rding of this song, and also before the final word, the singer "imitated the noise made by the buffalo." Several renditions were rec^^rded, intersperm^d with these peculiar "noises." 204 BUREAU OF AMEBICAK ETHKOLOQT fBnLL. na SONGS OONCERNINO A BOT's FAST This and the song next following are associated with the old Indian custom requiring youths to hold fasting vigils in the wilderness. These are songs which E'niwftb'e's grandfather sang to him when he was a boy and were secured only after the latter's confidence in the writer was fully established. The first song was sung when the boy had blackened his face and was ready to go forth alone from the camp. E^niwtlb'e said that he danced, and his grandfather sang the song. The meaning of the words is obscure. We can not understand what boyhood vision rose in the mind of the aged man as he asked a boon for the child whose vision was yet to come. No. 100. Son^ Before a Boy Goes Out to Fast (Catalogue No. 421) Sung by t/siwttB^E VoiCB J = 84 Dbum J=88 ( Drum-rhythm similar to No. 2 ) f n ^^ £ £^fe ^^rf A - ni - n6n-we-we a - ni - uSn-we - we wa - zi-swtUi nim-bi - zln- da-go -ne WORDS a^ninfin^wewe'' the receding sound wa^'ziswftn' of the nest ' nim^izinda^gone' I listen t« it Analysis, — The compass of this song is only four tones, comprising the first, second, third, and seventh of the minor scale; it begins on the third, descends to the second, and ends on the tonic. Eight renditions of the song were recorded; these are uniform in rhythm but uncertain in the intonation of the opening measures, the singer seeming to have difficulty in giving intervals so small, with dis- tinctness. (See Nos. 54, 55, 61, 64.) In contrast to this uncertainty as to semitones and whole tones, we find the accidental in the third measure and A flat near the close of the song given firmly and unmis- takably. The whole tone between 7 and 8 is prominent in this song. (See Nos. 9, 50, 85, 119, 124.) The melody forms a good example 1 This may refer to the ''nest" which a man built in a tree, in which he waited, fiisting, for a Tkkm (see p. 84), though the use of the word "sound'' in this connection is obscura DEXSMOBl] CHIPPEWA MUSIC — II 205 of the entire song as a rhythmic unit, complete and homogeneous. The metric unit of both voice and drum is slow and the general effect of the song is different from that of the majority of songs under analysis. When the boy fi'niwAb'e returned from his fasting vigil his grand- father insisted that he dance before tasting food; he also talked with him, asking long life for him ^d saying that he needed water to drink. Other boys returned at the same time from their fasts and fi'niwAb'e's grandfather talked to them all. Near his door there was a medicine pole (similar to those described on p. 248), around which the boys danced while fi'niwftb'e's grandfather sang the following song. There was a hole through the medicine pole just below the banner of deerskin. At the foot of the pole the old man placed a birchbark dish. As the boys danced and the old man sang a strange thing happened — water flowed from the hole in the pole and fell into the dish.^ When it was full fi'niwftb'e's grandfather stopped the dancers and gave them this water to drink. In this maimer their fast was broken. Both these fasting songs by fi'ni- wfib'e's grandfather were "composed in his dreams,*' and the medi- cine pole was made to correspond to that which he saw in one of his visions. (Compare Me'dweya'sM's medicine pole, p. 249.) No. 101. Son^ After a Boy Returns from Fasting^ Sung by i/siwtB^E Voice Jii:144 Drum J = 80 ( Drom-rhythm similar to No. 2 ) (Catalogue No. 422) ^^ o l^-LLh 9!> J~j Jl-J-fl "^ ^ l-JTJ- II S -Tj 3 Ta - ki - ga - ml iPi nin da-m!n - a - ig ma- ni- do wa - wa - bd - mit 1 A similar practice is said to exist among the ^Yssiniboin of Montana, a medicine-man tracing a zigzag line on the Sun-dance pole, drawing his feather fan down this line, and causing; wat«r to flow from the pole (or the refreshment of those taking part in the Sun dance. 206 BUREAU OF AMEBICAK ETHNOLOGY [buli«.53 WORDS taki'^gaml^ cool vrater A / i /- f ^® ^U give me to driuk manido^ manido'' vrawa^dmlt where he sees me Arudysis,- -The voice tempo is much more rapid in this than in the preceding song, while the tempo of the drum remains about the same.^ (Compare Nos. 103, 104; 121, 122; also No. 168.) The first measure forms a rhythmic unit which occurs four times and clearly influences the rhythm of the entire song. The flatted sixth is found twice and was given in all of the six renditions of the song; it is not correct in intonation, being somewhat less than a semitone above C. The song is harmonic in structure and contains the tones of the fourth five- toned scale. Attention is directed to the very low note at the close of the song; this was sung softly but was clear and approximated accuracy of intonation. GAME SONGS It is the belief of the Chippewa that gambling was taught the Indians by a manido' in order to relieve their distress from hunger and ill fortune. Three games were taught them for this purpose — the hand game {(min^jiwatcLge'win), the moccasin game (fwaH^l^n'oto'- diwin^)j and the plate game (Jbilgese'wln). Songs were sung during the first two games, but there was no music with the plate game, as the play was very brief and the computing of the score required con- siderable time. All these games are played by the Chippewa of the present day and are commonly regarded as mere pastimes, but it is said that ''the older Indians who understand the origin of the games and songs still hold them in reverence as a gift from the Manido'.'' The following narrative concenjing the origin of gambling was given by E'niwAb'e (pi. 26) : Long ago there was a Chippewa who had two wives, each of whom had two children. The man was a great hunter and could kill any animal that he desired. He once took his family and went on a hunting expedition. They went far away from all other Indians. Suddenly one of his children died and the next day another died. He and his wives buried them. The third day another child died and on the following day the last of his children died. The fourth day one of his wives died and on the follow- ing day his other wife died. He buried them both. Then he wondered what would become of him. Should he kill himself with his knife or with his arrow? He decided not to do so. A death as certain awaited him if he wandered about the country until worn out with exhaustion, and he decided on this course. Day after day he walked continuously. If he saw water he did not drink, for he was determined to die. He staggered on his way until at last he fell and could not rise. His clothing of skins had 1 In his description of Iroquois Music (in Anhxological Report of Ontario 1896, p. 145) Mr. A. T. Griogan states: ''The rate of movement in the melody may he accelerated or retarded but tliat of tbe •ooonpani- pient xematns constant tbnmghout." BULLETIN 63 PLATE 26 MursMOU] CHIPPEWA MUSIC — U 207 been entiiely torn from him. He had lost everything^his family, his strength, his tattered raiment; at length life itself departed. As he lay dead he heard some one coming toward him, stamping heavily on the earth. With returning consciousness he saw a man standing before him. The stranger was dressed all in black , even to his mittens. The stranger (who was a manido^) spoke, saying, " Brother, why do you lie here? " He who had been dead then rose to a sitting posture. The stranger said, "Brother, let us gamble.'* The man answered, ''Very well,'* though he did not know what game was to be played. The stranger, seating himself opposite the man, took a skunk-skin ba^ from his hip pocket. In this were a piece of flint and a small screw-shaped piece of metal used in removing the wad from a gun.^ The stranger tossed the flint to the man, saying, "You may use this; " he himself used the piece of metal. The stranger showed the man how to play the hand game. Laying his coat across his knees, he concealed his hands beneath it; in one hand was the metal object. He then passed his closed hands rapidly before his opponent. Skill in the game con- sisted in transferring this from one hand to the other while both were closely watched by the opponent, .who attempted to guess in which hand the object was concealed. Tlie man who had been dead won the game from the stranger, although it had just been taught him.' The stranger, though defeated by the man who had been dead, asked him to try another kind of game. The stranger then took off his moccasins, and, laying them The hand game is probably the oldest and most widely distributed of Indian games. Culin states (in Twenty-fourth Ann. Rep. Bur. Amer. Ethn., p. 267) that the game has been found among 81 tribes, belonging to 28 linguistic stocks, adding : "This extensive distribution may be partially accounted for by the fact that, as it was played entirely by gesture, the game could be carried on between individuals who had only the sign language in common." According to £'niwB''E Voice J = 88 Drum J— 104 ( Drum-rhythm similar to No. 19 ) ¥■ P^»-^^E ^ 1 s i^a t i i ' ^' ^ wg m^j ji^ ^ ^^^-tjifr:^ ^ ^^ rt :^ f^3 ? r-F # • #^^ -# Bcp ?C?E ^t- g gBj ^ ^ ^ ^ r^ ^-ggssig ^ Analysis. — This and the following moccasin game song were said to have been taught by the stranger (or manidoO to the man who had been dead. The stranger taught him to sing these songs in order that he might play the game successfully. This song is in 5-4 time. The first measure constitutes a rhythmic unit, which is twice repeated accurately. The other measures show divisions which closely resemble those of the unit but are not complete repetitions. (See Nos. 90, 94, 96, 108, 109, 115, 123.) It is interesting to note these variations and also to observe the rhythmic effect of the song as a whole. The interval of the fourth is prominent in the formation of the melody. This is found in many songs concerning animals and it will be remembered that the manido' appeared to this man in the form of a bear. (See No. 22.) A slow tempo in songs of controlled excitement is noted also in Nos. 30, 51, 52, 161. 67J>06°— Bull. 53—13 ^14 ilO jriES^z ■»? TTTirt'tT rr=:j l-i^.-t i^i^ £:;*- J. .> T- i frr^ • - *••• TT ^T. ^a -l2i» r:Li '.^^ "-r t::** r > • «4 ^ "JT "^ rrzrzz-. :i:at of :i:'^ fr?:. T!ii? -^^z^r zrres uniir A5 tie saiise csecrir -iizh iz. tee rw^? ^^^as?. ":ii" ~_i** T-:a:v 2^ :»c:«- in Thx* second s^^n^. See Xoifw I •>?. 101 : 1*21. U!! ii»: N: !•>>, The struct utv of both 50C:£5 ^ ^rLftrbriertzed ~ZY '^ r'larzttge rf m octave aiul the intemil ot ihe f-TOth. See LeGiS- jv'aye^l by the Chipww^ *r ihe jv^psent :o >? a serkv5s vvinxpA:k»c izji !:^ beccwae a F iaT> iTv pas: when cseir soc^shi soeress in :«x ::!rr::Zf*s i:: a v^av Ye: r^aLz^v x -cx tiif Li***:i Ld^k^ .V^^scv CVae saie ikmi won Lii -Jit- . nier istot II. •: wrc: a si::£v? c*=>f ^ ^^fc frxa tifee faces •r' "3i* ii:i~^?T T vt? i7i^»:*s:te t: ifC wc>r hj^i w^jt aad vlio had "T^^i* "*l"'— ^•fci nr^nii? till j.-r?" :ir i ?" t ■ f 1 r>c:uz.-MM J3ecf -:*. ^i- -^ equal — "T .CX3I*T A-. _ ."V*,' ins Ajsaa 210 BUBEAU OF AHEBICAN ETHNOLOGY [bull. 53 No. IM. Moecasln Game Song (b) Sung by fi^NiwOa^B VOICB Jrr 100 Dbdm J=:104 ( Drum-rhythm similar to No. 19) (Catalogue No. 397) ^^^^^^^^S MrfT?^ ^ I I I P I II ^ J <* m 'P ^ lEgf ^ -TpF ^ j ^ Jj ij^i ^ Analysis, — This song was said to be sung alternately with the one next preceding and was so recorded on the phonograph cylinder. The rhythm of the two songs forms a sequence, the first being agitated and irregular and the second confident and emphatic but closing with a rhythm resembling that of the first. This ending gives unity to the group. The drum has the same metric unit in the two songs, but the voice is faster in the second song. (See Nos. 100, 101; 121, 122; also No. 168.) The structure of both songs is characterized by the compass of an octave and the interval of the fourth. (See No. 22.) The Moccasin Game This game is frequently played by the Chippewa at the present time, but has ceased to be a serious occupation and has become a mere diversion. The days are past when men sought success in dreams and lost or won fortunes in a day. Yet many of the charac- teristics of the game remain unchanged. In July, 1910, the writer saw a party of Chippewa from Bear Island playing the moccasin game with a party from the Leech Lake Agency. One side had won 11 games" and the other had not won a single game, yet from the faces of the players it was impossible to tell who had won and who had lost. Additional games were scored without change of countenance by the winners, while the losers met continued defeat with equal stoicism. The following incident indicates the manner in which the game was formerly regarded : It is said that one of the most successful players of the game at Leech Lake in the early days obtained the secret of his success from his wife, who returned to him in a dream after death. He had been a gambler for many years before her death and had been fairly successful, but after she died he met with nothing but failure until finally he lost everything. In despair he went into the woods to fast and *' dream." After a f i <»s^ MOCCASIN GAME AT WHITE EARTH, MINN. AFTER T MOCCASIN GAME AT WHITE EARTH, MINN. UKNSMORK] CHIPPEWA MUSIC — U 211 time Ills wife appc^an^d to liim and told him that somewhere iii the woods were hidden four bullets, which would bring him success in the moccasin game, and that he must let them lie in the water before using them. Then the man began his search for the bullets. He had no further clew to their whereabouts, but he searched constantly, wandering in the woods day after day. At last he found four bullets and, as he had been directed, placed them in the water at the edge of the lake. He then announced that in a certain number of days he would have a moccasin game . By using the bullets which had been in the water he won everything and thereafter was always successful. With this incident began the custom of soaking the bullets. Many players do so now, believing this procedure will bring them success in the game. It was stated that another successful player had a dream in which he saw a row of moccasins and that as he took them up, one after another, he found a piece of money under each. This dream gave him confidence in his playing of the game. Two men may play the game, but the contestants are usually four men, two playing as partners against the others. Each side in turn hides four bullets under as many moccasins laid in a row on a blanket (pis. 27, 28) ; one of the bullets is marked. Skill in the game consists in placing the marked bullet in such a manner that it can not be readily located by the opposing players. Other implements of the game are 20 counting-sticks, each about 9 inches long, and one slender striking-stick, about 36 inches long. The writer has seen a set of moccasin game bullets made of solid steel, which were very heavy. Such a set is valued at one blanket. In addition to the bullets which are hidden, it is customary for the guessing side to use four bullets in indicating its guess, as explained below. The quahties required in playing the game are self-control and keenness of observation; the prize is given to him who conceals, not to him who discovers. The side which hides the bullets is the side which scores. There are many involimtary signs which may indicate the placing of the marked bullet, and the mannerisms of various players are closely studied. Some affect many gesticulations and hide the bullets with great rapidity; with others a slight motion of the head, a change of facial expression, a slower or a more rapid motion of the right hand may accompany the hiding of the marked bullet. It is said that some players allow it to slip between the fingers when placing it beneath the moccasin. Ki'ose'wini'ni C'good himter'O, a successful player of the game, said that he always ''watched the chest of tlio man who hid the bullets,^' as a player who could control every other muscle would often hold his breath for an instant when he placed the marked bullet. He said further that some players looked at the moccasin under which they had hidden the bullet, and that others as systematically looked at some other moccasin. Still others always hold the marked bullet in a certain part of the hand, 212 BUREAU OF AMERICAN ETHNOLOGY [bull. 58 and a close observer learns to look there for a betraying muscular movement. In preparation for a moccasin game a blanket is spread on the groimd, beside which are placed the articles staked on the result of the game. A rifle is usually wagered on the result of six consecutive games, a blanket on three games, and a shirt on one game, while a beaded bag is staked on two or three games, according to its value. Before beginning the game a knife is tossed to decide which side shall be first to hide the bullets. On the side which is to hide the bullets one player holds a drum; the other lays four moccasins in a row on the blanket and takes in his hand the four bullets which he is to hide. On the side which is to guess, one player holds the striking- stick with which to toss aside the moccasins, and the other, seated at his left, holds in his left hand the four bullets with which he will indicate his guess. Beside these players are laid the 20 sticks with which the score is kept. When all is ready the drummer sings a moccasin game song and beats the drum while his partner lifts the toe of each moccasin with his left hand and slips a bullet under it with his right hand, his opponents watching closely to detect some change of manner or facial expression when the marked bullet is placed in position. (Pis. 27, 28.) If the guessing player who holds the striking-stick is sure that he knows under which moccasin the marked bullet is hidden and is willing to risk the score on his own judgment, he extends his right hand with two fingers spread. In this case his partner does not indicate his guess, and if the leading player's guess is correct the score is the same as for a ^^ double crack." This course is seldom followed, however, usually each of the guessing players deciding where he thinks the marked bullet is hidden. The guesser holding the bullets slips the marked one into a position corresponding to the moccasin imder which he thinks the other marked bullet is concealed. For instance, if the guesser thinks his opponent has hidden the marked bullet under the moccasin next to the right end of the row, he places the marked bullet in his own hand between the first and second fingers, the position corresponding to that moccasin when his open hand is extended toward his opponents. The man holding the bullets is allowed only one guess. The man with the striking-stick is allowed three guesses; if he tosses aside two mocca- sins without disclosing the marked bullet, he may turn another, on which the score is made. His partner then indicates his own guess; if correct, he opens his hand and shows the marked bullet in the right position; if incorrect, he extends his hand with the thumb down, meaning ^^I have guessed wrong'' (pi. 29). A correct guess by both players is called a * double crack," which entitles them to an additional turn at hiding the bullets, provided Q A "QUESS" MOCCASIN GAME AT WHITE EARTH, Wi\W.H. obnsmore] CHIPPEWA MUSIC — ^n 213 their opponents do not make a *' double crack ^' in the meantime to counterbalance the first. The ^^ double crack" is mentioned in the words of song No. 175, Bulletin 45. One side continues to hide the bullets until the guessing side guesses correctly, after which the score is counted. The guesser who holds the striking-stick in his right hand holds in his left hand the counting-sticks, at first 20 in number. From these sticks each side receives the number to which it is entitled by the score. When the counting-sticks which remain are three or fewer in number the man holding the bullets does not guess, the game depending on the player who holds the striking-stick. If the marked bullet is imder either moccasin at the end of the row and he guesses right, the game is his; if it is imder either of the middle moc- casins and he fails to locate it, the game is won by his opponents. The score is complicated, depending on the position of the moc- casin under which the marked bullet was hidden— whether at the end or in the middle of , the row, also on the number of guesses required by the man with the striking-stick in locating the marked bullet and on the agreement or disagreement of himself and his part- ner in their choice. For instance, if the bullet is under one of the middle moccasins and both guessers fail to locate it, the side which hid the bullet adds eight counting-sticks to its score. If the bullet is in the same location and only one guesser fails to locate it, the score is six. At the conclusion of each game a stick about 10 inches long is stuck into the ground at the edge of the blanket. The stakes are settled after the playing of a number of consecutive games agreed on in the beginning. Dream Songs — Lac du Flambeau Reservation Melodic Analysis TONALITY Major Minor Total Number of songs Serial Nos. of songs 96,101 94, 95, 97, 98, 99, 100, 102, 103, 104 BEGINNINGS OF SONGS Number of sones On the twelfth On the fifth... On the octave. On the fourth. On the third.. Total 2 3 4 1 1 11 Serial Nos. of songs 94,101 95, 99, 102 97, 98, 103, 104 96 100 214 f BUBEAXT OF AMEBICAN ETHNOLOGY Melodic Analysis — continued [BULL. 63 ENDINGS OF SONGS On the tonic. On the fifth. Total. Number of songs Serial No& of aongs 94, 97, 96, 99, 100, 101, 103, 104 95, 96, 102 TONE MATERIAL Number of songs Serial Nos. of songs Second flvo-toned scale 1 2 1 3 1 1 1 1 97 Fourth five-toned scale 98,101 Minnr triftd and sixth 94 Minnr triad and fourth 95, 102, 104 Octave complete except seventh 96 Octave complete except seventh and second 99 Octave complete except sixth 103 Octave complete except sixth and fourth 100 Total 11 ACCIDENTALS Songs containing no accidentals Songs containing the seventh raised a semitone Songs containing the sixth lowered a semitone. Total. Serial Nos. of songs 94, 95, 96, 97, 98, 99, 102, 103, 104 100 101 STRUCTURE Harmonic Purely melodic. Total Serial Nos. of songs 97, 98, 101 94, 95, 96, 99, 100, 102, 103, 104 FIRST PROGRESSIONS Downward, Upward . . . Total. Number of songs 8 3 11 Serial Nos. of songs 94, 95, 96, 99, 100, 102, 103, 104 97, 98, 101 dbnsmobb] CHIPPEWA MUSIC — n 215 Rhythmic Analysis PART OF MEASURE ON WHICH SONG BEGINS On accented part . . . On unaccented part Total. Serial Nos. of songs 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104 RHYTHM OF FIRST MEASURE \ Niinfil)er of songs Serial Nos. of songs Snncrs bAfiinninfif in 2-4 time- . , 7 3 1 95, 96, 97, 98, 99, 102, 104 8ong.q bA9jp7^{|;|cr in 3-4 time . 94, 100, 101 Son?5t hAcnnnin? in .*»-4 tlitift 103 Total 11 CHANGE OF TIME Songs containing a change of time. . Songs containing no change of time . Total Serial Nos. of songs 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104 RHYTHMIC UNIT Songs containing a rhythmic unit . . Songs containing no rhythmic unit. Total. Serial Nos. of songs 94, 95, 97, 98, 99, 101, 102, 103, 104 96,100 COMPARISON OF METRIC UNIT OF VOICE AND DRUM Metric unit of voice and drum the same . Metric unit of voioe and drum different. Total. Serial Nos. of songs 94, 95, 98, 102 96, 97, 99, 100, 101, 103, 104 216 BtrBBAU OF AMBBICAK 2THK0L0GT [fiULL. 53 VoicB J -72 Recorded without drum IX)VB SOKOS ^ NO. 105« "do with M«'^ Bung by ^'niw^^S^b (Catalogue No. 400) 13^ M: ^ ^¥ ir -«- I Ma - dja - ya - ni - ne ma dja - ya - ni - ne ma- 5^ s^ ^: tn-trr'fW^^^ ^ ^^ dja - ya - ni - ne ma dja - ya - ni ne ma > m ^-- g^^l^-2Jl- dja - ya - ni - ne ma dja- ya-ni - ne ki - ga - mi-nin go- cd ga - bi - zi - ka - m(in ma- dja - ya- ni - ne ma dja- ya-ni -ne WORDS madja^'yanine^ when I go ki''gami''nln I will give you gocd^ surely gabi''zika^miin what you will wear wi'^djiwiyiln' if you go with me Analysis. — This is the only love song in the present series that can be called a ^^ courting song/' unless the ''Song of an ambitious mother'' (No. 112) be included under this head. The last word was not sung, but was given by the singer as one of the words of the song. The progressions are characterized by the interval of the fourth, which has been noted in other songs concerning motion (see No. 22). In several instances the intervals were sung glissandoj a feature which can be indicated only imperfectly in musical notation. The metric unit is slow and not rigidly maintained by the singer, all the Chippewa love songs being sung somewhat ruhato. The rhythmic unit, which is clear, occurs three times; it comprises the entire song except the third section, in which a change of words is found. (See Nos. 1, 8, 12, 13, 30, 39, 40, 81.) The melody is distinctly major in tonality and contains an indefinable element of pleading. After singing the song as transcribed the singer repeated the various ^Seep. 41. d&nsmobb] CHIPPEWA MUSIC — ^tl S17 phrases and sections in an irregular order, seeming to sing them as suggested by his fancy. Voice J = 72 Recorded without drum No. 106. "Do not Weep Sung by E^'niw^b^e » (Catalogue No. 401) ^^ifc§=S M± :S^ ^^^ ^gHS " ■^-r Ca-'i-gwd ni-ma - dja ca - i'-gwd ni-ma - dja ca- i'-gwfi ni-ma- dja r trp=P i B g g£ E ^ diM: ca-I - gwd ni-ma - dja ke-go-sdma-wi - kSn ke-go-sfi ma-wi- 1 ^ ± J5»-5- :2::5 4^ t ^1 kgu ca - JL - gwd ni- ma - dja ca-i - gwfi. ni-ma - dja WORDS caJigwH^ now nimadja^ I go ke^'gosii'' do not ma^wikfin^ weep Analysis. — This melody is transcribed in the key of C minor, although the third of that key occurs only next to the last note of the song. The descending fourths C-G, F-C mark the broad outlines of the melody, which has a compass of an octave. It will be noted that the same octave represents the compass of the preceding song, but the two melodies are in different keys. (See Nos. 95, 96.) As in the preceding song, the interval of the fourth is of frequent occurrence. (See No. 22.) The rhythmic unit, which occurs five times, is accu- rately repeated. The prominence of the subdominant is noted in this and in other songs of sadness. (See Nos. 109, 110, 170.) 218 BUBEAU OF AMERICAN ETHNOLOGY [bull. 53 No. 107. "You Desire Vainly** Sung by Mec/kawiga^bau (Catalogue No. 430) VoiGB J =92 Recorded without drum m - ^ r f f I f ^ ~ 4:1 -1= Gi - da - ga wa dad dji - ml - sfl - wl - no - ^^^ fS" — rf^ h=^=^=^ E^ e Dan gi-da-ga- wa - da£L dji-ml - sd-wl-no - nan m mr ^ W ^ ^ ^^m a - nl - ca gi - ci - mg ba- Qn- djI - I - ka yan WORDS gi-'daga^wadafi^ you desire vainly djI''ml8iiwI''nonan^ that I seek you a^'nica'' the reason is gici^mS I come baon^djikayan^ to see your younger sister Analysis. — ^The three recorded renditions of this song diflPer only in the length of the prolonged tone in the fifth and sixth measures, one rendition giving this tone the value of four instead of five quarter notes. The rhythm of the song is smooth and flowing, the irregular divisions blending in an effective whole. The song is distinctly minor in tonality and freely melodic in structure. DENS MORE J CHIPPEWA MUSIC — ^n 219 Voice J=r 92 Recorded without drum No. 108. "Re is Gone'' Sung by Mb(/kawiga^bau (Catalogue No. 431) ^jg^Jil-iM^^ ' If ll S -fM^^ ^^ Na - nin-a - nSn > da-wen-ddm na - nin-a - nSn da-wen> i^ ¥ ^=i^ s ^-s- dQm nin - da ^ e i t ^ 3^ ^ 1 ya nin - ga-cken-dQm gi - ma-djad nin - ^m=^ o: g^ ^ fj ii iir- rr 1 ^. 1 1^ ^ H 1 - mu - ce WORDS nanin^anfin^dawenMflm ^ . , ninda^ |I might gneve ninga^ckenMftm I am sad gi^madjad^ that he is gone nin^imu^'ce my lover It was said that this song was sung by either a man or a woman whose lover was dead. Analysis, — This song contains 29 measures and comprises five periods of irregular lengths. The rhythmic unit occurs only three times, but it is interesting to observe that the rhythm of the inter- vening parts of the song resembles the rhythm of this unit. For instance, in the phrase which includes measures 6 to 13 we note that the opening and the close of the phrase correspond to the beginning and the end of the unit, respectively, but the phrase contains eight measures while the unit contains only five. (See Nos. 90, 94, 96, 103, 109, 115, 123.) Two consecutive syllables of the third word are equally accented. ^20 BtJBEAtr OF AMBBICAK BTHKOLOOY [BULL. 6S No. 109. ''I «m Thinklngr of Her Sung by Mec/kwawiga^bau >» (Catalogue No. 442) VOICB J=r92 Recorded without drum l « k .A i I ^ fep=i -•- r f-^ i ir nrr ?^^ ^ ¥^ 3 ^ &^ i SS ^ i WORDS (free translation) I sit here thinking of her I am sad as I think of her Analysis, — This was said to be a particularly old song. It contains an unusual number of intervals of a whole tone — 14 (58 per cent) of the 24 intervals in the song. Reference to Tables Nos. 11 and 12 will show that only 42 per cent of the ascending, and 35 per cent of the descending,, intervals in the 340 songs under analysis are intervals of a second, either a whole tone or a semitone. The promi- nence of the subdominant is noted in this, as in other songs of sadness. (See Nos. 106, 110, 170). The melody tones are those of the second five-toned scale. The rhythmic unit, although repeated only once, clearly influences the rhythm of the entire song. (See Nos. 90, 94, 96, 103, 108, 115, 123.) The interval of the fourth in the formation of a melody is considered in the analysis of No. 22. No. 110. "Weeping for My Love'» (Catalogue No. 443) Sung by Djn''8iA''8iNO''KWE (** deceiving woman ") Voice Jr=92 Recorded without drum ^ 4i i t=t-- ■v- f it f t. -* DENS MORE] CHIPPEWA MUSIC — n 221 WORDS (free translation) I go around weeping for my love Aryalysis. — The three recorded renditions of this song vary slightly in the length of the sustained tones. The transcription is from the second rendition. The rhythmic unit, which is long, occurs four times. The middle part of the song contains progressions sunilar to those of the unit, but having a different rhythm. All the tones of the octave are contained in the song, which is melodic in structure. The subdominant is given special prominence. (Compare Nos. 106, 109, 170.) The interval of the fourth appears in the formation of the melody (see No. 22). Voice J =96 Recorded without drum No. 111. "Come, Let Us Sing" Sung by Dji^siX^'sIno^kwe (Catalogue No. 444) ^-fftf^^f^g^ ^ -f9- 2r ^ ^i X fe;: 4: =3:p:iT=5: ^» Zf^ Jk- ^^ -^h ■«^ WORDS umbe^Ina come, I beseech you nag(imo^da let us sing wegon6n%6ndjI^da why are you offended? Analysis. — This song consists of three parts, the first two chiefly in double, and the last in triple, time. There is no rhythmic unit, and the rhythm of the song as a whole is smooth and graceful. The wide intervals suggest to the eye a certain awkwardness not present, however, in the rendition by the Indian singer, who sang the melody with sweetness and good intonation. The words, which were sung indistinctly, are not transcribed. The interval of the fourth occui's frequently in the middle part of the song (see No. 22). 222 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 112. Song of an Ambitious Mother VOIGB J=rl76 Recorded without drum Sung by Mrs. Gautuieb ^ (Catalogue No. 445) i r 1 r m 4=t ? i iin nun -to. da - ma - ge - nuQ i^ t=t: I nin nun - do - da - ma - i fe i m P^a s -J- -I am asking for nm nundo'^damage^nfln Bugac/ Bugac^'s oda^nfln daughter ningltcl'' my big inin'^akik ^ brass kettle oglml^giwe^nftn he is giving The singer stated that this song was a memory of her earliest chUd- hood, when she heard her mother sing it. A brass kettle is said to have been one of the first manufactured articles secured by the Chip- pewa and was a highly valued possession. The words of the song suggest that the woman singer is bestowing her own property, yet the last line indicates that in doing so she is representing her son. Analysis, — This song begins and ends on the same tone, a peculi- arity found in only 11 songs of the series of 340, namely, Nos. 132, 142, 149, 150, 170, 174, 197 in Bulletin 45 and Nos. 53, 112, 125, 127 of the present work. No. 127 being a duplicate of No. 149 in Bulletin 45. All these songs begin and end on the tonic. This is one of the comparatively few songs composed by women (see Nos. 31, 39, 40, 127, 151, 177, 178). The last measure of the rhythmic unit varies slightly in its repetitions, a measure being added in the second occur- rence of the unit. A peculiarity of this song is that it contains only 1 Mrs. Benjamin Qauthier (see pi. 30), who sang this song, is known also by her Chipi>ewa name Bl'tawagi'jlgo'kwe (" double sky woman "). She is a granddaughter of Ginlc'tano (" wind-bound ")» who was chief of the M&'nltowlc' and Bimidjig'amag bands of Wisconsin Chippewa, and who several times visited Washington with tribal delegations. Mrs. Gauthier is a progressive member of the Lac du Flam- beau village, but retains her interest in tribal traditions and customs. s Said to be a compound of the words inVnl ("man") and wa'Mk (''metal"), the large brass kettl69 obtained from the traders in the early days being called "mau-kettles," BUREAU OF AMEftlCAN ETHNOLOQV BULLETIN S3 PLATE 30 MRS. BENJAMIN GAUTHIER BUREAU OF AMERICAN ETHNOLOaV CHIPPEWA DRESS SLEEVE lABOVE) AND LEGGING-CHIPPEWA BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 33 CHIPPEWA SASH OF AMERICAN ETHNOLOQY BULLETIN 63 PLATE 34 CHIPPEWA HEADBAND BUREAU OF AMERICAN ETHNOLOav BULLETIN 53 PLATE 35 CHIPPEWA MOCCASIN {PRESENT STYLE) BUREAU OF AMERICAN ETHNOLOGY BULLETIN 53 PLATE 3t CHIPPEWA MOCCASIN (OLD PATTERN) DENSMORE] CHIPPEWA MUSIC — n 223 the first, second, fifth, and sixth tones of the diatonic scale, the third being omitted. This is fully considered in the analysis of No. 53. The interval of the fourth is prominent and has been noted in other songs concerning motion (see No. 22). Thus we find in the analysis of this melody a peculiarity noted in other songs composed by women and in other songs concerning motion. At the time this song was used the Chippewa women were wearing the old, tribal style of dress. Mrs. Gauthier recalled her mother^s description of this dress, and the costume she wears (pi. 30) was made under her own direction, no fewer than seven Chippewa women con- tributing their skill. The several parts of the costume (dress, sleeves, leggings, sash, headband, and moccasins) are shown in plates 31-35. Before securing broadcloth the Chippewa made a garment of similar design from a blanket. E'niwtlb'e offered to explain this to the writer and requested his wife to stand while he put a blanket around her, fastening it at the waist with a scarf and arranging long folds under each arm to dispose of the fullness. His wife merrily agreed that he remembered the dress she wore when they both were young. The surplus length of the blanket was folded over and allowed to hang loosely on the chest, the garment being held in place by shoulder bands. In the old days the only ornamentation was on this piece which hung over the chest, the depth of which depended on the height of the person. Later, when broadcloth was used for the gar- ment, this was replaced by a strip of that material, beaded, and still later by beaded velvet. The sash worn by Mrs. Gauthier is of yarn, woven in an ancient manner by the wife of E'niwtlb'e, the singer. A gomewhat later type of Chippewa woman^s dress is shown in plate 16. This costume is decorated at the hem of the skirt, a style said to be comparatively recent, and the sleeves, instead of being separate, are joined together in the back to form a short jacket. The floral designs which form the decoration of Mrs. Gauthier's costume (pis. 30, 32, 35) are typical of the designs in use among the Chippewa at the present time, which are frequently copied from natural leaves and flowers. Similar designs appear in plates 11, 20, and 39. A floral design said to be older than these may be seen on the sleeve pieces of the woman's costume in plate 16; these pieces were brought from Mille Lac many years ago. It is said that geometric designs preceded floral patterns among the Chippewa. Perhaps the simplest of the former was the '^ zigzag pattern," which is shown on the piece across the chest, in the woman's costume in plate 16 and also on the ma'kdk (pi. 37). The ^^star pattern'^ is said to have been originally a dream symbol (pi. 33). The decoration on Odjib'we's war drum also was the outcome of a dream (see p. 62). Plate 35 shows the type of moccasin now in use among the Chip- pewa, and plate 36 the type from which some writers have believed 224 BUREAU or AMERICAN ETHNOLOGY that the trihe derived lis name, many Indians holding the same opinion (see footnote ', p. 59). In ^gare 4 is shown a pattern, cut by the aged woman at Lac du Flambeau who made the moccasins. Speaking through an interpreter, she said that in the old daya they had no shears and cut the deerskin with a knife. No pattern was used, as they "just made a covering for the feet and gathered it up." She said that she sewed the moccaain up the inst«p and "piped it to hold it firm," the shortest of the three strips being used for that purpose. She then moistened the moccasin on the inside and moldeart, ii blind woman sang the following song, wliich was recorded by the phonograph. densmobe] CHIPPEWA MUSIC — II 225 No. 118. Loye Song (Catalogue No. 446) Sung by 0''GABEA''siNO^KWE ("woman OP THE BREEZE THAT BLOWS TO THE END**) Voice J =160 Kecorded without drum ^r J fUt t i m ^^ MJMU -7^ =i;i^ -^ Nin-ga-da - wl-ga - ga-no -na • • nm-i -mu- ce -S*- -25^ -25^ nin-ga-da - wl-ga-ga-no - na bi - jl - go - kwe i t H ^3 l^^EX r? -^- 5=5 niu - ga - da - wl - ga - ga - no - na bi - jl - go - kwe sa - gi - & nin-i-mu- ce nin-ga-wl-ga - ga-no - na ^^ s a i ~&- "fir "2^" "^" "2^' '^^ ^*5 bl - jl - go - kwe sa - gi - & -25*- nin -1 - mu - cc WORDS ningada^d^gagano^'na I will go and talk with nin''imu''ce my sweetheart bi^jlgo^kwe the widow sagia'' I love nin''imu''ce my sweetheart bi^jlgo^kwe the widow Analysis. — The metric unit is more rapid in this than in most of the love songs, but this is compensated for by the frequent occurrence of prolonged tones. All the tones of the octave except the third occur in the song, which is freely melodic in structure. (See No. 53.) eidQe'—Bull. 63—13 ^15 226 BUBEAU OF AMEBICAN ETHNOLOGY [BULL. 53 Lave Songs — Imc du Flambea/u ResenxUion Melodic Analysis TONALITY Major. Minor Total. Number of songs Serial Nos. of songs 3 ; 105, 112, 113 6 i 106, 107, 108, 109, 110, 111 9 BEGINNINGS OF SONGS On the octave. . On the seventh . On the fifth.... Total. Number j of songs ' Serial Nos. of s- \AMLMinu^ A - ni - mo-kan-ilg nin-ga- wl - '-"> u J r I c,/ ^^ dji - wi- gog s; WORDS fj i nj|j_ii a^nimokan''^ the dogs iiingawi''djiwigog^ will go with me Analysis, — In structure this song is classified as melodic with har- monic framework. It contains no rhythmic unit and the time was not steadily maintained. It is interesting to note that a variation in time occurs on corresponding measures in the four renditions of the song. 230 BUREAU OF AMERICAN ETHNOLOGY [bull. M No. 115. ''Here I Come Again" Sung by Mec/kawiga'bau Voice J = 84 Drum J = 84 (Drum-rhythm similar to No. 19) a-ea£ ^ ^- 3- (Oatalogue No. 438) ^S Ca - 1- gwii ml - na- wa ni - ga- bi-dwe- we-diim o - gl - tcl-da - dog a he ca-I-gwtl ml -na-wa ni-ga-bi - dw6 - we- diUn o - gl - tcl - da - dog e ca - I -gwtl ml - na - g^A fc^3=J wa lie WORDS caigwA'' here minawa'' I come again ni''gabidwe'wed^ ?iitn:7^ WORDS 8in''ziba''kwat maple sugar e'^ta is the only thing me^'noka^goyan^ that satisfies me * Analysis. — This song contains the tones G, A, C, D, E. Although the song begins and ends on D, the tone acceptable to the ear as a keynote is G. The tone material thus comprises the tones of a major scale lacking the third and seventh, a sequence of tones designated by Helmholtz ^ as the first five-toned scale. Other songs lacking the third are considered in the analysis of No. 53. The influence of the rhythmic unit is evident throughout the song, though the variation of the phrases is less interesting than in the group of songs mentioned in connection with No. 90. The maple sap {simiba'Tcwadwdbo') is boiled into sirup (jiwagUm'' IzigUn) and then prepared in three forms, the most common being the grained sugar {nasa'igHn), which is stored in ma'JcQJcs (pi. 37), varying in size from very small ones to large ones holding 20 pounds or more. With the covers sewed down the rrw/TcH^s aJflford a con- venient method of storing the sugar. In the old days they were 1 A pail or ma'k^ of maple sugar was a gift highly valued by those who Joined in the begging dance. « In SenaaUoru of TwMy p. 260. bubeau of AMEWCAN BTHNOLOGY 232 sewed with spruce roots. The "molded sugar" {zi'gaig^n) waa packed in cones of birch bark (fig. 5) fastened with tiny wooden pegs and hung by narrow stripe of bark ; several of these cones were sometimes hung together. A duck's bill was fre- quently used to hold the "molded sugar." A third method of pre- paring the sugar was in the form of a sticky gum or "taffy" (Mgi- i/uwl'aijjlln), which was placed in small folded packets of birch bark and tied with strips of the bark. At the close of the sugar-making the Chippewa went to their suramer camps (pi. 38), which were usually situated on the shores of lakes. In the illustration a man is shown mending his canoe by holding a charred stick near the pitch which covers the seams; the heat softens the pitch so that it can be rubbed into the seams with the fingers^ making them watertight. Fic. G. Diidi-bark cone OUed with mipleaugBT. No. 117. "My T«Tels" Sung by Mec'kawioa'bad (Catalogue No. 440) Voice J = 88 Dbun J =68 ( Drum-rli jtbm ^milar -^ A ^ DENS MOKE] CHIPPEWA MUSIC — ^n 233 WORDS agaVanigikendan'^ I can scarcely remember bebama^diziyan'' my travels Analysis. — The words of this song suggest that the singer is emphasizing his need of food by referring to the length of his journey. This song contains no rhythmic unit but is characterized by a six- teenth note at the beginning of the measure, foDowed by a dotted eighth. Double and triple measures alternate throughout the song. This succession of measure-lengths is uniform in the several renditions on the phonograph cylinder. The song is purely melodic in structure and contains the tones of the fourth five-toned scale. No. 118. Song of Thanks for Food Sung by Mb(/kawioa^bau YOIOB J =120 Dbum J = 138 (Drum-rhythm similar to No. 10) (Catalogue No. 441) m^ \ ^f\\>M Analysis, — ^This song maAs the close of the begging dance at a house and is sung only once. The people have eaten the food given them and sing this before proceeding on their way. The rhythmic xmit occurs in the opening measures and also at the close of the song. The fourth and fifth measures bear resemblance to the rhythmic imit, but show a change of time from double to triple. The song contams only the tones of the major triad and sixth, and would be classified as harmonic in structure except for the accented F in the fourth measure from the close. Eleven renditions of the song were recorded, which are identical in every respect. 284 BUBEAU OF AMERICAN ETHNOLOGY [BDLL.6S Southern Dance Songs ^ No. 119 Sung by S'^niwDb^e VOIOB J =144 Drum J =126 (Drum-rhythm similar to No. 10 ) (Gatologue No. 404) fcEEfe^;rb^-ff=Rg ^ ^ ^^^ t^j^^gj Analysis, — In this song the metric unit of the drum is slower than that of the voice. The melody contains all the tones of the octave, an unusual feature in songs of minor tonality. , In one measure we find C sharp, which characterizes the key of D minor in musical usage. The other measures contain C natural, giving a whole tone between 7 and 8 (see Nos. 9, 50, 85, 100, 124). The rhythmic unit consists of two parts, the first of which contains four measures and is based on the descending fifth D-G, while the second part contains a short answering phrase on D in the lower octave. The melody is unusually pleasing and effective. 1 See pp. 45, 129. dbnsmorb] CHIPPEWA MUSIC ^11 235 No. 120. "Invite Our Sweetheart'' (Catalogue No. 405) Sung by £''Niwt^B^E VoiCB J =184 Drum J=:116 (Drum-rhythm similar to No. 10) ^aJ^frrrr^a ^ aK' r L' li r eg A-wi-n^-do-ma-keg a-wi-n^-do-ma - keg ki ni-mu - ce-nano- gl - tci-mln-wen - da go - cfL o ca - wtn -o - ka - zi - win o - ^^ e r \ ftj \ r m-f\mn\ gl - tci-mln-wen - da go - cti o ca - w^ - o - ka - zi - win WORDS a''win{ln''doma^keg go and invite ki our nin^imuce'nan sweetheart ogl'^tciminwen^'da she enjoys gocd'' truly ca^wflnoka^ziwln the dance called ca^wiino'ga Analysis, — In this, as in the preceding song, the metric unit of the drum is slower than that of the voice. Five renditions of the song were recorded, the peculiar rhythm being steadily maintained. The song is harmonic in structure, the melody moving along the intervals of the chord of G minor. The first progression is a major third (see Nos. 1, 9, 34, 83, 94). There is no rhythmic unit after the fourth measure, yet the song as a whole has a rhythmic swing. 286 BUREAU OP AMERICAN ETHNOLOGY [BI7U.rft3 No. 181* Southern Dance Song (Catalogue No. 413) Sung by l^^mwtB^E Voica J = 96 Dbum J =96 ( Drum-rhythm Himilar to No. 10 ) (1) nil: "h Analysis, — ^The singer stated that this and the following song were always sung together and at his request they were recorded consecu- tively on the phonograph cylinder. Throughout this song a double measiu*e follows a triple measure; the accent being so clearly defined that the two can not be combined in a 5-4 measure. Two rhythmic units are contained in the song, the division of the last measure being somewhat similar in the two but each having a character of its own. It is said that ''the Indians were so carried away with the ca'wtlno'ga that frequently they danced all night." The songs of this dance contain a rhythm which would tend to produce this result. Each song was sung an indefinite number of times, with no interruption of the time. No. 122. Southern Dance Song Sung by fi''Niwt^B''E Voice J^ = 200 Drum J = 96 ( Drum-rhythm similar to No. 19 ) (Catalogue No. 414) gsa^j r^S ^ mJ\: \L! \ f II DBNSMOBB] CHIPPEWA MUSIC — ^n 237 Analysis, — ^Between the recording of this and the preceding song the pause was suflB.cient only for the prolonged call with which an Indian frequently closes a song. It is impossible to transcribe this call, or ejaculation, which begins on a high tone and descends glis- sandoj the syllables being yvrnirU, wal Sometimes such a close is given with the syllables wchjhIj hil accompanied by a rapid beating of the drum. This song contains the same drumbeat as the preceding; the voice- rhythm is more rapid than in the preceding song, and can be meas- ured only by an eighth note as the metric unit. (See Nos. 100, 101 ; 103, 104; also No. 168.) Five renditions of the song were recorded and the metric unit was steadily maintained, the only difference in the renditions being that the last phrase was omitted from the first three. Comparison with the preceding song will show the rhythmic unit of each to consist of triple followed by double time, but in the first song there is one, and in the second there are two, double meas- ures. The dance seems to gather speed until it ends in a veritable whirlwind, but through it all the stolid drum retains its even, mod- erate beat. Songs Concerning the Gift of a Pony When the people at a dance hear the following song they know that a pony is to be given away. A man dances around the drum with a Uttle stick in his hand with which he whips an imaginary pony; then he presents this stick to a friend, the actual transfer of the pony taking place later. It sometimes happens that the people are slow in volunteering to part with their ponies. In that event the head drummer may start this song and one of -the assembly may present a beaded suit to a man who owns a particularly desirable pony. The proper return for this gift is a pony and in this maimer the presentation of one may be forced. All who have given away ponies join in the dance and if others dance at this time they are required to part with their ponies. 238 BUREAU OF AMEBIGAN ETHNOLOGY [BULU 53 No. 123. Song Accompanying the Gift of a Pony Sung by Mec/kawiga^bau VOIOB J =96 DbuM J=:100 (Drum-rhythm similar to No. 19) (Catalogue No. 435) ^^^L±p^ff-ULii'\j:i^ Li ^WW^^^^W tr^^ Analysis, — This song opens with a two-measure phrase, which is repeated. This is followed by a phrase of two measures, which reap- pears near the close of the song. The first phrase is not regarded as a rhythmic unit, as it is found only at the opening and does not influence the rhythm of the remainder of the song. The second phrase has an evident relation to the rhythm of the entire song, measures 7 and 11 containing a division of the count similar to that in the first part of the unit, and the third measure from the close containing the sixteenth followed by a dotted eighth note, which characterizes the latter part of the unit. (See Nos. 90, 94, 96, 103, 108, 109, 115.) The song is minor in tonality and contains only the tones of the minor triad and fourth. The man who has received the pony-stick leads the dance as the following song is sung, carrying the stick in his hand. All who have ever given away ponies dance with him, many holding up fingers to in- dicate the total number of ponies thus presented at various dances. DENSMORE] CHIPPEWA MUSIC — ^n 239 No. 124. Song of Thanks for the Gift of a Pony (Catalogue No. 436) Sung by Me(/kawiga''bau Voice Jr3 96 Dbum J— 100 ( Drum-rhythm similar to No. 2 ) ^^^-^^r^H-^^^ •>■ » ^ ^ ^^ ^^ Cjcrir Lf'cjj Analysis. — ^This song is particularly rhythmic. The unit of rhythm is in double time and is repeated once, followed by a section in triple time in which is noted the triplet in the first coxmt of the measure which characterized the rhythmic unit. The song is minor in tonality and contains a whole tone between 7 and 8 (see Nos. 9, 50, 85, 100, 119). Moccasin Gabie Songs This and the following song are ordinary songs of the game, and no dream origin is attributed to them (compare Nos. 103, 104). 240 BUBEAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 126. Moeeasln Game Song Sung by f/NiwdB^B VoiCB J = 84 Dbum J = 92 (See drum-rhythm below) (Catalogue No. 410) 1 r#T Drum-rhythm i J^il^JO/q^ ^ etc. Analysis. — This song is minor, in tonality and contains the first, second, third, fifth, and sixth tones of the diatonic minor scale, a tone material occurring in only three other songs of the series of 340 (see Nos. 178 and 184 of Bulletin 45, and No. 83 of the present work). This is of special interest, as the omitted tones are the same intervals as in the fourth five-toned scale, which is major in tonality. The melody begins with an upward progression of an octave (see Nos. 170 and 174 of Bulletin 45, and Nos. 9, 31, 53 of the present book); it also begins and ends on the same tone (see No. 53). The rhythmic unit is steadily repeated except in two measures in which the division of the last count is changed, this slight change giving character to a melody which otherwise would be monotonous. The entire song is in triple time. Four renditions were recorded, the repetitions usu- ally succeeding each other without a long closing tone. Such a tone is indicated in the transcription, but appears only once on the pho- nograph cylinder. BULLETIN S3 PLATE 39 CHIPPEWA CRADLE-BOARDS DENS MORE] CHIPPEWA MUSIC II 241 No. 126. Moccasin Game Song Sung by Mec/kawioa^'bau VoiOB J = 96 Dbum J=rl04 ( Drum-rhythm similar to No. 126) (Catalogue No. 427) m Jl ^^^ ^^ m ir ^S! ^ Analysis. — This song is based on the tones of the minor triad. The rhythmic unit occurs seven times, with a slight variation in the division of the first count. The speed of the phonograph was greatly reduced in order to test this variation, which was found to be clearly and uniformly given throughout the several renditions. The intona- tion on the sixteenth notes occurring at the close of the measures was uncertain, these being given with a ''toss of the voice.'' Song for the Entertainment op Children ^ VoiOB J:=96 Recorded without drum No. 127. Lullaby Sung by 0^QABEA''siNO''KWE (Catalogue No. 447) wc we we we we we we we we we we we we we Analysis, — The only two songs which the Lac du Flambeau Chip- pewa were found to have in common with the White Earth Chippewa are the lullaby and the song accompanying the folk tale of We'nabo'jo and the ducks (Bulletin 45, No. 197). Tlus lullaby was first recorded at White Earth, Minnesota (see ibid., p. 193). On comparing the two transcriptions it will be seen that the first four measures are identical and that the latter parts differ, though both renditions end on the same tone. Tlus is one of the few songs composed by women (see Nos. 31, 39, 40, 112, 151, 177, 178). No words are used in this song, wewe ^ being continuously repeated. 1 See also songs Nos. 51, 52, 53, 179, 180. 2 Wewe is a root, the meaning of which implies a swinging motion; thus, wew^hizun signifies a child's sA^ing or hammock. The writer has frequently seen a Chippewa mother put Yxex baby, still fastened in its cradle-board (jatik'aTUL'gilLn), plate 39, into a hammock crudely made of a blanket stretched opea with a stick, which she swung back and forth until the baby fell asleep. Still more primitive is the method also shown in the same plate; here the woman is seated on the ground with feet extended in front and the cradle-board resting against them, enabling her to move the cradle-board slightly back and forth by a motion of the feet. 67996°— Bull. 53—13- -16 242 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Unclassified Songs — Lac du Flambeau Reservation ^ Melodic Analysis TONALITY Serial Nos. of songs Major Minor Beginning major, ending minor (same keynote) Total 68, 115, 116, 117, 118, 121, 122, 127 114, 119, 120, 123, 124, 125, 126, 171 67 BEOINNINOS OF SONGS On twelfth On fifth... On ninth.. On octave. On fourth. On third.. On tonic... Total Number of songs Serial Nos. of songs 68,115 116,118,120,125 67,117 114,119,123,124,126 121,122 171 127 ENDINGS OF SONGS On tonic . . On fifth . . . On third .. Total Serial Nos. of songs 67, 68, 114, 115, 119, 121, 122, 123, 124, 126, 127, 171 116,117,120,125 118 TONE MATERIAL First five-toned scale Second five-toned scale Fourth five-toned scale M^or triad and sixth Minor triad and fourth Octave complete Octave complete except seventh Octave complete except seventh and second Octave complete except sixth Minor third and fourth First, second, and fifth tones Other combinations of tones Total Serial Nos. of songs 1 The following songs included in this table are described in other chapters: Nos. 67 and 68 are divorce songs, found in the Drum-presentation Ceremony, while No. 171 is a song of the pipe dance. densmorb] CHIPPEWA MUSIC — ^n 243 Melodic Analysis — continued ACCIDENTALS Scmgs containing no accidentals. Songs containing seventh raised a semitone. Total Serial Nos. of songs 67, 68, 114. 116, 116, 117, 118, 120, 121, 122. 123,124,126,126,127,171 119 STRUCTURE Harmonic Purely melodic. Melodic with harmonic framework. Total. Serial Nos. of songs 120,123,124 67, 68, 115, 116, 117, 119, 121, 122, 125, 127, 171 114,118,126 FIRST PROGRESSION Downward Upward .. Total. Serial Nos. of songs 68, 114, 117, 118, 119, 120, 121, 122, 123, 126 67, 115, 116, 124, 125, 127, 171 Rhythmic Analysis PART OF MEASURE ON WHICH SONG BEGINS On accented part On unaccented part Total Serial Nos. of songs 68, 115, 116, 117, 118, 121, 122, 123, 124, 125, 126, 171 67,114,119,120,127 RHYTHM OF FIRST MEASURE • Number of songs Serial Nos. of songs SnTiffs bA^'nninfir in 2-4 time 12 4 1 67, 114, 115, 116, 117, 118, 119, 120, 123, 124, 127,171 68,121,125,126 122 Snn?s hAffitininf; in .3-4 tiniA Rnncrs bepinninif in 3-8 time Total 17 244 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 Rhythmic Analysis — continued CHANGE OF TIME Songs containing diange of time . Songs containing no change of time. Total. Serial Nos. of songs 67, 68. 114. 115. 116, 117, 118, 119, 120, 121. 122,123,124,171 125,126,127 RHYTHMIC UNIT Songs containing rhythmic unit. Songs containing two rhythmic units. Songs containing no rhythmic units. . Total. Number of songs Serial Nos. of songs 67, 68, 115, 116, 118, 119, 120, 122, 123, 124, 125,126,127,171 121 114,117 COMPARISON OF METRIC UNIT OF VOICE AND DRUM Number of songs Serial Nos. of songs Metric unit of voice and drum the same. Metric unit of voice and drum different. Recorded without drum. Total. 115,116,117,121,122 67, 68, 114, 118, 119, 120, 123, 124, 125, 126, 171 127 Combined Analyses of War, Dream, Love, and Unclassified Songs* — Lac du Flambeau Reservation Melodic Analysis TONALITY War songs Dream songs Love songs Unclassi- fied songs Total Pot cent. Major 10 8 2 9 3 6 8 8 1 23 31 1 4» 66 Minor Spinning major, ending minor (same key- note) 2 \ Total 18 11 9 17 55 1 Given separately on i>ages 195, 213, 226, 242. DKNSMOBE] CHIPPEWA MUSIC ^n 245 Melodic Analysis — continued BEGINNINGS OF SONGS War songs Dream songs Love songs Unclassi- fied songs Total Per cent. On the twelfth 8 2 2 2 3 2 4 12 13 2 2 3 17 1 1 3 1 BB On the fifth 4 Bi On the tenth A On the third 1 1 2 5 A On the ninth 1 4 6 On the octave 4 4 1 SO On the seventh B On the sixth 1 B On the fourth 1 2 1 5 On the tonic B Total 18 11 9 17 55 • ENDINGS OF SONGS War songs Dream songs Love songs Unclassi- fied songs Total Percent. On the tonic 14 3 1 8 3 5 4 12 4 1 40 13 2 7B On the fifth On the third Total 18 11 9 17 55 TONE MATERIAL First five-toned scale Second five-toned scale Fourth five-toned scale Major triad and sixth Major triad and second Minor triad and sixth Minor triad and fourth Octave complete Octave complete except seventh Octave complete except seventh and sixth. Octave complete except seventh and fourth . Octave oompleteexceptseventh and second . Octave complete except sixth Octave complete except sixth and fourth. . Octave complete except fourth Octave complete except third Octave complete except second Minor third and fourth First, second, and fifth tones First, second, fifth, and sixth tones Other combinations of tones Total. War songs 3 6 1 1 4 1 1 18 Dream songs 1 2 1 3 11 Love songs 2 1 2 1 1 1 9 Unclassi- fied songs 1 1 3 1 2 1 1 1 2 2 17 Total 6 3 6 2 1 3 3 2 55 Percent. B IS BO B B B 10 5 10 4 B 5 5 B B B B B B B 4 246 BUBEAU OF AMEBIOAN ETHNOLOGY [bull. 53 Mblodic Analysis — continued ACCIDENTALS War songs Dream stmgs Love songs Unclassi- fled songs Total Percent. RoncR oontaininsr no aoeidentals 17 9 1 9 16 51 1 2 1 9g flonfrRContainintr Mv^nth rnUiAd a jw^niton^ . i Songs containing seventh lowered a semi- tone 1 1 1 Songs containing sixth lowered a semitone. 1 i Total 18 11 9 17 55 ■ STRUCTURE • • War songs Dream songs Love songs Unclassi- fied songs Total Per cent. Harmonic 1 9 8 3 8 3 11 3 7 37 11 1$ Purely melodic 9 67 Melodic with banponic frame^x^ori^ to Total 18 11 9 17 55 FIRST PROGRESSION • War songs Dream songs Love songs Unclassi- fied songs Total Per cent. Downward 15 3 8 3 4 5 10 7 37 18 67 Upward SS Total 18 11 9 17 55 Rhythmic Analysis PART OF MEASURE ON WHICH SONG BEGINS War songs Dream songs Love songs Unclassi- fied songs Total Per cent. On accented nart 12 6 11 4 5 12 5 39 16 71 On nnaccent'ed T>art - t9 Total 18 11 9 17 56 DENS more] CHIPPEWA MUSIC — ^n Rhythmic Analysis — continued RHYTHM OF FIRST MEASURE 247 War songs Dream songs Love songs Unclassi- fied songs Total Per cent. Sones beeinninK in 2-4 time 12 6 7 3 1 4 5 12 4 35 18 1 1 6S Son£:s beeinninfir in 3-4 time SS Songs beginning in 5-4 time t Soners beeinnine: in 3-8 time 1 g Total 18 11 9 17 55 CHANGE OF TIME • War songs Dream songs Love songs Unclassi- fied songs Total Per cent. Ronffsf Anntaitfifie O^iAnirf^ of t-ime. .. r .---.. . 16 2 11 9 14 3 50 5 91 Songs containing no change of time 9 Total 18 11 9 17 56 RHYTHMIC UNIT War songs Dream songs Love songs Unclassi- fied songs Total Per cent. Songs containing rhjrthmic unit 14 9 6 14 1 2 43 1 11 78 Songs containing two rhjrthmic miits $ Songs containing no rhythmic miit 4 2 3 to Total 18 11 9 17 55 COMPARISON OF METRIC UNIT OF VOICE AND DRUM War songs Dream songs Love songs Unclassi- fied songs Total Per cent. Metric unit of voice and drum the same 9 9 4 7 5 11 1 18 27 10 35 Metric unit of voice and drum different 49 18 Recorded without drum 9 Total 18 11 9 17 55 The Symbols of Songs Which Never Were Sung In passing through the Chippewa village at Lac du Flambeau tall poles may be seen standing beside majiy of the houses. Surmount- ing each pole is a cloth-covered frame which resembles a small flag and is so fastened as to permit it to swing with the wind. On gray weather-beaten poles only part of the frame and a few tatters of 248 BUBEAU OF AMERICAN ETHNOLOGY [bull. 53 cloth remain (pi. 40), but from the newer ones fly banners bearing strange figures outlined in red and blue. Symbols of the sun, moon, and stars are easily recognized and there are also crude drawings of birds. High up on many of the poles are tied bimdles of faded rags that flutter in the breeze and suggest mystery. Inquiry as to the significance of the poles will probably be met with evasive answers. The writer heard a white person ask an Indian whether the fluttering rags were *' supposed to frighten away evil spirits.'' One who had lived in the vicinity many years said, **The Indians put-up a new pole when anyone dies; there is always a new pole after a death at the village." Such is the superficial impression regarding the medicine poles, showing how weU the Indian has guarded the things which concern his deeper nature. If the entire story of one of these medicine poles could be written, it would be the history of a man's life — ^his boyhood dream, his failure to fulfiU that dream, and his struggle against sickness and death. It is said that the custom of erecting a medicine pole beside a house had its origin many generations ago, and was as follows: A yoimg man blackened his face and went away to fast, according to the cus- tom of the tribe (see pp. 83, 204). He dreamed a dream, in which he saw the thunderbirds and the tall tree on which they lived. Retiu'n- ing to his home, he cut down a tall straight tree and trimmed off the branches, making a pole, which he placed in the groimd at his door. He pictured on a deerskin the birds he had seen in his dream. This he stretched on a frame and fastened at the top of the pole, complet- ing the representation of his dream. The later custom differed, in that the young man did not erect the medicine pole as soon as he returned from his fasting vigil, but waited to see whether his dream would come true. The dream usually concerned war and promised success on the warpath. If he went to war and *' fulfilled his dream," he did not erect a pole, but while on the warpath he sang for the first time the song which came to him in his dream (see p. 71). The words had reference to the birds, the sim, or the stars which he saw in his dream. If he lacked the opportimity to go to war, he pictured these objects on a deerskin or a cloth, but the song was never sung. Such a man was supposed to have special power to cure the sick. To one who understands its symbolism the pole beside a house says: ''Here lives a man who dreamed a dream and the mysterious strength of his vision is in him. He never used it against human foe, but more than other men he has power against that greater enemy — death." In the springtime the owner of a pole frequently takes it down, lays it on the ground, and makes a feast. He asks his friends to come and ''preaches about the pole." If some one "wishes to secure 2: S CHIPPEWA. MED\OV**t VQ\JE& DENSMORB] CHIPPEWA MUSIC — n 240 long life/' he brings one of his garments with tobacco folded in it and ties the garment around the pole. In the autumn a similar feast is often held, but the frozen state of the ground makes it impos- sible to take down the pole. When the friends of a sick person are anxious about his condition, they put tobacco in one of his garments, which they fasten high on one of these poles. Sometimes they scrape a weatherworn pole so that it is white and smooth, or even replace it with a new pole, on which they tie a garment belonging to the sick person. The writer saw a pole which appeared to have been recently erected ; it was painted with bands of red and blue and the figures on the banner were clearly outlined in blue. (PL 41.) On inquiry the information was given that it was not a new pole but one which had been scraped a few months previously, when Me'dweya'sM (*Hhe sound of the wind'O, the chief or '' speaker'' of the village, was very ill. The pole belonged to one of his relatives. It had been freshened and redecorated, the cloth of the banner renewed, and an oflFering fastened on the pole. But Me'dweya'sM did not recover; he had lived the full measiu-e of allotted years and died of old age. At another house the writer saw the peculiar medicine pole which Me'dweya'sM himself erected; on this too were fluttering strips of cloth, portions of garments he had worn, placed there by his friends in the effort to prolong his life. This medicine pole consisted of an uprooted tree placed horizontally between two forked poles as braces at a height of about 5^ feet from the ground. (PI. 41.) In his youth Me'dweya'sM dreamed of war; he dreamed that he was leader of a war party, that he conquered the enemy, and in pursuing them leaped over a fallen tree. Years passed. The call to battle did not come, the tribes were at peace, and there were no war parties for him to lead. At length he put up this tree as his medicine pole, placing it at the same height as the fallen tree over which he leaped in his dream.^ He felt obliged to do this because he ''had not fulfilled his dream," but the song which should have inspired his warriors was buried in his heart. Kl'tciodja'nimwewegi'jlg C'sky in terrible commotion ") told the writer that when he was a boy he fasted and dreamed of a bird. As he never went to war, he later erected a medicine pole beside 1 See description preceding No. 101. 250 BUREAU OF AMEBICAN ETHNOLOGY [bull. 53 his dwelling, drawing on the cloth banner a picture of the bird he saw in his dream. .Although the cloth was torn and the drawing almost effaced by sun and storm, he drew again the outline of the bird (fig. 6), that the story of his dream and his mei ji i I n ^^^^ ^ Ti I ^ 1 ^ ^^B 'Tl'T I^ ^- B! i Analysis, — The intervals of progression in this melody are unusu- ally large and would present some difficulties to a singer of the white race. It is, however, a bright and attractive melody, lively in tempo, and strongly rhythmic in character. The tones are those of the tonic triad and sixth. The first measures were not included in the repetitions of the song. No. 137. Dream Song (Catalogue No. 326) Sung by AwtN^AKthilaicKf^iJ' Voice J =112 Drum J=112 ( Drum-rhythm similar to No. 19 ) ^JHffl Tri^^ J Hi-' J J 11^ rn-K^ ^ w^^ stt t s L/cJ i r ^ 1 ^4^^ dbnsmorb] CHIPPEWA MUSIC — ^n 261 Analysis, — In this song the signature of the transcription should be regarded as indicating the pitch of certain tones and not as imply- iug an established key. The transcription merely represents the tones sung by the Indian singer. The framework of this melody is characterized by the interval of the third. The first seven measures are based on the descending third F sharp-D sharp, with G sharp as a tone of approach (see analy- sis of No. 53). This is followed by the descending thirds B-G sharp; D sharp-B; B-G sharp, with a return to the third F sharp-D sharp, with G sharp as a tone of approach. The second section of the song has essentially the same framework. This song and the following five dream soi^ are said to have been used by a Chippewa doctor during his treatment of the sick. (See BuUetux 45, pp. 119, 120.) No. 138. "My Body Lies in the East" (Catalogue No. 308) Sung by Ki^'miwOn (** rainy") VoiCB J =88 Dhum J =112 ( Drum-rhythm similar to No. 2 ) 3^^^ ^S: m '^^mzmrn ^\\^ r ■ I \j^^-^^^44=l^ . J' J hj l 8 ^^^. BS ruiLi g Wa-bftn-ofig a - te ni-au e my^'jw rlgr JE&E^Bg^^ h>^> i ;,» r ■ f ^ i:^fl ^CT I J . J- irmrf^ ^ 8 WORDS wabdnong^ in the east ate' lies ni-au'' my body 262 BUBEAU OF AMEBICAN ETHNOLOGY [boll. 53 Anaiysis. — ^The two renditions of this strange melody secured are identical. The song is based on the minor triad, the fourth and sixth being used as passing tones. The tempo is slow, with long swinging cadence. The rhythm is characterized by the triplet, which occurs frequently on the last count of the measure. The song contains no rhythmic unit, but the rhythm of the entire song consti- tutes a homogeneous whole. In this group of six *' doctor's songs" it is noted that vowel syllables distinctly enunciated are used on the tones not supplied with words, resembling the Mide' songs, and differing from the majority of Chippewa songs, in which the separa- tion of tones is produced by muscular action of the throat (see No. 134). No. 139. '< Sitting with the Turtle" (Catalogue Ko. 309) Sung by Ki^'Miwt^N VoiCB J = 96 Dhum J =112 ( Drum-rhythm similar to No. 2 ) -p- -m- 0-* -p- ^-^ MI- kin- ak ni - wi - ta - bi - mt ^^^^m^^^^^ ^^ j^- ^s ^^ ^ t f^^^^^ WORDS i mikinak'' turtle niwi^'tabimd'' I am sitting with him Analysis. — Five renditions of this song were recorded. In the first and fourth renditions no words were used; in the second- and fifth the words occurred as transcribed, and in the third the words were used in the seventh and eighth measures instead of at the open- ing of the song. The first rendition begins on D flat instead of E flat, a fact which suggests that D flat is felt to be the principal tone, E flat being used as an approach to that tone. (See analysis of No 53.) DENRMOREl CHIPPEWA MUSIC — II 263 No. 140. ^'Carried Around the Sky" Sung by Ki'^miwCn VOICB J —116 Drum J = 116 (Drum-rhythm similar to No. 19 ) (Catalogue No. 310) r fe:^t ■0- -n- ^ Ki-wi-ta - ci-yan gi -jig - ullg ki-wi - ta - ci-yau gi- jig ^^= .:^. I f-rj'jiiE g EiEt lf^=W^- J2-. ^ Ufig ki- wi - ta - ci-yan gi - jtg - uiig ki-wi - ta - ci - Si? icnqt: ^ m ■ ^^ zm^ ^ ir i=# yan gi - jig - ufig ki-wi - ta - ci-yan gi - jtg - ufig ki-wi ta - ci-yan gi - jig ufig ^^m n i ki-wi - ta - ci- yan gi - jig- ufig WORDS kiwita''yaciyan'' * as the wind is carrying me gi'jigung' around the sky Analysis, — This is an example of a song showing an interval forma- tion and containing what would be called in musical terms **the tonic of the key'' only in the middle part of the song. Chippewa songs with this characteristic have been noted only among those col- lected at Waba'cmg; these are Nos. 135, 137, 139, 141, 142, 165. If we depend on the musical ear in determining the key of a song, we place this song in the key of G major, yet 85 per cent of the intervals are minor. The song contains 13 intervals, of which 9 (70 per cent) are minor thirds and 2 (15 per cent) are minor seconds, the other intervals being a major third and a major second. (See Nos. 141, 151, 161, 163.) The rhythmic unit contains three measures and occurs seven times, being accurately and continuously repeated. The accidental tone (A sharp) was given with correct intonation. No differences appear in the four renditions of the song. This and the two following songs are said to be simg after the *' doctor'' has ''swallowed" the bones and during the treatment of 1 One syllable of this word was omitted by the singer. 264 BUREAU OF AMEBICAN ETHNOLOOT [BULL. 53 • the sick person. After the second rendition of the song there is recorded on the phonograph cyUnder a sharp hissing sound which the doctor makes as he breathes, or "blows," on the person receiving treatment;, after the third rendition there is recorded a shrill whistle, which he is said to make as the bones issue from his mouth. It is said that in the old days the "doctor" did not take the bones in his hand before swallowing them, but drew them directly into his mouth from a shallow dish of water. The writer has been informed by more than one eyewitness that when the medicine-men were in possession of their former powers the bones, many of which were- much larger than those used in recent years, were actually swallowed by them. No. 141. ''The Approach of the Thunderbirds" (Catalogue No. 311) Sung by Ki^'miwOn Voice J -88 Drum J -138 (Drum-rhythm similar to No. 2) ^rF^ Ka - bl - de - bwe - we - da - mo- wad bt nS - sT - wftg ^^iTTH^tL^g gp^ i^P^ ^ WORDIS kabide'l)wewe''damowad'' the sound approaches bin6''rfw(ig the (thunder) birds draw near Analysis. — This song contains a short rhythmic unit, which occurs only twice. The song is major in tonality, but is characterized by the frequent occurrence of the interval of the minor third, 67 per cent of the intervals being minor thirds. (See Nos. 140, 151, 161, 163.) Harmonic in structure, the melody contains only the tones of the tonic triad and sixth. Attention is directed to the rapid drumbeat in this and the following two songs. The approach to the harmonic tQne by the tone above is discussed in the analysis of No. 53. DBNSMOBB] CHIPPEWA MUSIC — ^n 265 No. 142. <'White-haired Bayen" (Catalogue No. 312) Sung by Ki'^Miwt^N Voice J =160 Drdm J =120 ( Drum-rhythm similar to No. 2 ) r s^ I I I I 1? fe^ -K-* f^ '■-H- i Kwe wa-bi-kwe-k£^-ga - gl kmt ba - ba-mac nin - de - go kwt ^^ 4t_i ¥^-f^ ir ^'^ p-n^ : I wa - bi - kwe - ka - ga - gi kwt ba - ba- mac niu - de - go Anoe mi i'£EEE 5c=p: ^^E^;E^ ^f=f^^^ lS^^ wa-bi-kwe - ka - ga - gi kmt ba - ba-mac nin - de - go loot g gjza^fe^^^l l jij J. ^ wa- bi -kwe-ka- ga - gi laat ba - ba-mac nin - de -go -<5> t WORDS wa^ikwe''kaga''gi ' * white-haired raven babamac' flying around the sky" nin'^dego'' I am called Analysis, — The four recorded renditions of this song are identical in all respects except that in one instance D instead of B was sung on the last count of the first measure. This is unimportant except that it is the only variation. At the close of the second rendition is recorded the peculiar whistle described in connection with the pre- ceding song. There is no perceptible secondary accent in the meas- ures marked, respectively, 7-4 and 5-4. The rhythmic unit com- prises three measures and occurs four times. The measures in 3-4 time were sung with a slightly slower metric unit than those in 7-4 time. The melody is particularly striking and forceful. 266 BUREAU OF AMERICAN ETHNOLOGY [BULIfcSS No. 148. Dream Song Sung by Ki^Miwt^N YoiCB J =144 Dbum J =120 (Drum-rhythm similar to No. 2) e^ t t=i=t t £ -^1— r-r m (Catalogue No. 313) -^- r=t I 5=t ir ^ 5* 42- /7S '^. CI. rr-F-HI ^ ir ^ rrTT *=f ^ 4t-fTtrT"nTi^ ^^ -fi>- s -^ i Analysis. — Four renditions of this song were recorded; the second and third renditions were followed by the peculiar whistle and hiss already described. The song contains the tones of the tonic triad and sixth and is harmonic in structure. The rhythmic unit contains four measures, its repetitions comprising the entire song. The following is a song of the moccasin game. It is unusual to find a moccasin game song which is said to have had its origin in a dream. Long ago the players sought skill by means of fasts and dreams, but at present the game is regarded less seriously. This song was recorded by a member of a Canadian band of Chippewa, among whom the moccasin game may have retained its original status (see p. 206) . No. 144. Dream Song Sung by Awt^N^AKtyM^lolcKON'' VoiCB J =72 Drum J =104 ( Drum-rhythm similar to No. 19 ) (Catalogue No. 319) DENSMOBB] CHIPPEWA MUSIC — ^n 267 Analysis, — ^The entire trend of the melody is downward, along the intervals of the tonic triad. The metric unit of the voice is slow and that of the drum is rapid, a peculiarity found in most of the moccasin game songs and suggesting the mingled control and excitement of the game. A song closely resembling this but in a different rhythm was recorded on the White Earth Reservation (compare No. 176). The singers did not state on what occasions the remaining songs of this group were sung, but it is probable that they were used in the dances preparatory to war. The words are of interest, in many instances suggesting the confidence which makes for leadership in any undertaking and becomes the more inspiring when it is believed to be of supernatural origin. No. 145. ''Into the Several Heayens" (Catalogue No. 288) Sung by A^jide''qij1q Voice J =104 Drum J =104 ( Drum-rhythm similar to No. 10 ) ^ + 5S BS: X t m HSL t 3 + + m^Ff=^i^ t^-r a=iW pg m ^i^ '■ 4 ii^^ I ■iS^-r 0-gi-ma gi - jig - ufig en - ga - ba - bl - ni-go WORDS o^guna the chief gi^jlguilg^ into the heavens engaba'lbinigo^ will take me Analysis, — This song contains a peculiarity which occurs frequently in songs recorded at Waba'cXfig, namely, the approach to a harmonic tone by means of the tone above it. For instance, this melody is based on the triad of E flat major, yet the first tone is an accented C. This is discussed in the analysis of No. 53 and is found also in Nos. 29, 45, 51, 53, 65, 137, 139. The sixth was sung slightly sharp when reached by an ascending progression, this feature being uniform throughout the two renditions of the song. Faulty intonation on the 268 BUREAU OF AMEBICAN ETHNOLOGY [BULL. 58 interval of a second is noted in Nos. 54, 55; 61, 64, 100, 145, 166. The closing tone was sung with good intonation, representing an unusually low range of voice. (CatalofiTue No. 290) No. 146. ''Two Foxes Face Each Other" Sung by A''jide''quIg ■Z9' VOICB J=11S Dhum J=11S ( Dnim-rhythm similar to No. 2 ) t^: m t=^ t ^m=^ ^^ Wg -on-da-sii-ma-bi - wad wa-guc-iig mi-ma-dji-ft-bi - yan \^j i r^i^jj J ii ij.^ m ■fi^ i WORDS w6onda^8(ima'l)iwad^ they face each other waguc(ig^ two foxes mimaMjia^iyan^ I will sit between them Analysis,— T}ns song contains no rhythmic unit, though a dotted eighth followed by a sixteenth note occurs with frequency. It should be noted that the lower tone of the minor third was slightly flatted on its first occurrence in each octave, though sung afterward with correct intonation. (See Nos. 54, 129, 133, 164.) The tonic chord forms the framework of the melody, with the second and sixth as unaccented passing tones. dbrsmorb] CHIPPEWA MUSIC — ^n 269 No. 147. "One Bird" Sung by A^'jide^guIq Voice J =108 Dhum J =108 ( Dram-rhythm similar to No. 2 ) (Catalogue No; 291) ^ a bi/^'i^ i iit^r r i iiir L ^ Be-jlgbl-n8 -si ni-wi-djl - wa r ^^m + + HE fcr=t*=fei tt ■a- t ^J J||2j J^tf T +tM f|i-r^Lkg: + + ^^m F^=^?lg^^^ ^^ WORDS be^jlg one binfi'si bird niwiMjIwa^ I am going with him Analysis, — The rhythmic unit of this song contains six measures and occurs five times; its repetitions constitute the entire song. The first section of the song is outlined by the interval of the fourth, representing the descent from the tonic to the dominant; the second section is based on the descending interval of the fifth and contains the tones of the tonic triad; and the third contains the descent in the lower octave from the tonic to the dominant. The outline of the second and third sections is repeated, and the dominant is the closing tone of the song. Thus the melody, in its broad outline, is seen to have a definite relation to the tonic chord, yet within this outline we find another characteristic. The tone D flat appears with prominence, and in its connection with the tonic triad forms a group of the minor triad and minor seventh, which has been noted m songs of the Chippewa and also in the music of other primitive people. (See footnote, p. 130, Bulletin 45.) This group is noted also in Nos. 133, 151, 152, 153, 154, and 163 of the present work. 270 BUBEAU OF AMEBICAN BTHNOLOGY [BULL. 53 No. 148. ''The Sky WiU Resound" (Catalogue No. 296) Sung by Ki'miwOn YoiCB J =100 Dbum J =100 ( Drum-rhythm similar to No. 10 ) r 1 tS? p.tS'f-T fV^ ^ I 4=- ^±±Ui Ta-min -we - we gi - }Ig o tci bi - no - wa - r ^ I3fc 8 B ^£-^-Htl-S^ ^ da - go - si - nan if^r^g^ WORDS ta''minwe''we it will resound finely gi^'jig the sky tci'l)inonda''go8inan'' when I come making a noise Analysis, — This song is harmonic in structure and is based on the chord of B flat major. The rhythmic unit is not strongly marked, yet the song as a whole has a rhythmic effect which is particularly pleasing. The metric unit was maintained with absolute regularity by the singer. DluNSMORB] CHIPPEWA MUSIC — ^n 271 No. 149. "One Wind" Sung by Ki^'miw^n VoicB J =100 Drum J ==104 ( Drum-rhythm similar to No. 19 ) (Catalogue No. 298) ^M f tiT i r P: g g^ri Tiis-f^f^ ^ W^ :tl W U -#-PL Be -jig no-dIn nin-ga - na - ^m w6n - dan WORDS be''jlg one noMin wind ninga^nawSndan^ I am master of it Analysis. — Three renditions of this song were recorded. The time was not steadily maintained^ and it is noted that variations from exact time occur in corresponding measures in the several renditions. The song contains the tones of the fourth five-toned scale, is harmonic in structure, and is based on the tonic triad, the second and sixth appearing only as passing tones. No rhythmic unit occurs in the song, although the rhythm of the song as a whole is strongly marked. 272 BUBEAU OF AMEBIC A17 ETHNOLOGY [BULL. 98 No. 150. ''An Oyerhangring Cloud Sung by Ki^miw^^n YoiOB J =120 Dhum J =120 (Dnim-rhythm similar to No. 10) (Catalogue No. 299) Ka- bi -ba-bam-a - go - deg a - na-kwad tci-ba-ba - mi-uo ta- ^fe * RF-^ -<5>-r i gwtlD WORDS ka^ibabam^'agodeg^ an overhanging a'^nakwad cloud tcibaba''minota''gwN^AKtjM''iGicKt>N' Voice J:^72 Dbum J =144 ( Drum-rhythm similar to No. 2 ) I p I i /ji Ji i i^ * ^_L ^^ ^m fe "V f- -f- ii \^U-ljWT m -gy rj- \ f Lf tl£ q B! - n6 - si - wug ni - koc - ko - , ^:t_r jrlj-t^ \ ^±ir't. .T \ - a - gog ^ ft ^ a m a ^ f' m =i -B^ i WORDS bine^siwiig the (thunder) birds nikoc'koigog^ startle me DENS MOBS] CHIPPEWA MtJSIC — n 275 Analysis. — The first three measures of this song contain the down- ward progression G-E-C-A, comprising the minor triad with minor seventh added (see Nos. 133, 147, 151, 152), the tonic chord of C major being established in the ninth measure. The remainder of the song is based on the tonic triad, the sixth occurring only as a passing tone. The rhythm is characterized by a peculiar division of the first count of the measure. This occurs in the opening of the rhythmic unit and has beennoted also in Nos. 152, 157, 159, 161, 163. Dream Songs — Waha'dng Villagey Red Lake Reservation Melodic Analysis 1 TONALITY • Number of songs 25 1 Serial Nos. of songs Major 128, 129, 130, 131, 132, 133, 134, 136, 137, Minor 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153 135 Total 26 « BEGINNINGS OF SON( >S t Number of .songs Serial Nos. of songs • On thirteenth ^- 1 5 U 4 3 2 145 On sixth •....-■ 137. 139, 141, 147, 152 On twelfth i 129, 130, 132, 138, 143. 144, 146, 148. 150. r On fifth 151, 153 133, 140, 142, 149 On tenth 128, 134, 136 On third 131, 135 Total 26 ENDINGS Q] F SONGS • — Number of songs Serial Nos. of songs H 2 10 128, 129. 130. 132. 136. 138. 143. 144. 145 On tonic fifth 146, 148, 150, 151, 153 131, 134 On tonic third 133. 135. 137, 139, 140. 141. 142. 147. 149. 152 26 276 BUREAU OF AMERICAN ETHNOLOGY [BuiJ«.S3 Melodic Analysis — continued TONE MATERIAL Fourth five-toned scale. Halor triad Major triad and sixth Minor triad, sixth and foiurth. Total. Serial Nos. of songs 128, 129, 130, 131, 132, 13S, 140, 142, 146^ 147, 148, 149, 150, 151, 153 14 144 133, 134, 136, 137, 139, 141, 143, 145, 138 152 ACCIDENTALS Songs containing ho accidentals. Songs o(«taining second raised a semitone. Total Number of songs Serial Nos. of songs 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 141, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153 140,142 STRUCTURE Harmonic. Purely melodic , Melodic with harmonic framework. Total. Serial Nos. of songs 129, 133, 134, 138, 140, 141, 143, 144, 146, 148, 149, 150, 151, 152 132, 142, 135, 137 128, 130, 131, 134, 135, 136, 137, 139 FIRST PROGRESSION Downward. Upward Total. Serial Nos. of songs 21 128, 129, 130. 132, 134, 135. 136, 137. 139, 140, 141, 142, 143, 144, 145. 146, 148, 149, 150, 152, 153 131, 133, 138, 147, 151 DENS MORE] CHIPPEWA MUSIC — ^n 277 Rhythmic Analysis PART OF MEASURE ON WHICH SONG BEGINS On accented part On unaccented part Total Number of songs Serial Nos. of songs 128, 129, 130, 133, 135, 136, 137, 139, 141, 144, 145, 146, 147, 148, 149, 150, 152 131, 132, 134, 138, 140, 142, 143, 151, 153 RHYTHM OF FIRST MEASURE Songs beginning in 2-4 time Songs beginning in 3-4 time. Songs b^inning in 4-4 time. Songs beginning in 7-4 time. Songs beginning in 3-8 time. Total. Berial Nos. of songs 129, 131, 132, 134, 135, 137, 138, 139, 140, 141, 147, 150, 152 128, 133, 136, 144, 145, 146, 148, 149, 151, 153 143 142 130 RHYTHMIC UNIT Songs containing rhjrthmic unit Songs containing two ibythmic units. Songs containing no rhythmic unit.. . Total. Number of songs Serial Nos. of songs 131, 134, 135, 140, 141, 142, 143, 147, 153 128 129, 130, 132, 133, 136, 137, 138, 139, 144, 145, 146, 148, 149, 150, 151, 152 COMPARISON OF METRIC UNIT OF VOICE AND DRUM Metric unit of voice and drum the same . Metric unit of voice and drum different. Total. Serial Nos. of songs 128, 129, 134, 135, 136, 137, 140, 145, 146, 147, 148, 150, 151 130, 131, 132, 133, 138, 139, 141, 142, 143, 144, 149, 152, 153 278 BUREAU OP AMERICAN ETHNOLOGY [B0I.L. S8 Rhythmic Analysis — continued CHANGE OF TIME i Number I of songs Serial Nos. of songs Songs containing change of time. 26 128, 129, 130, 131, 132, 133. 134, 135, 130, J 137. 138. 139, 140. 141. 142, 143, 144, 145, ! 140. 147, 148, 149, IfiO, 151. 153, 153 Total 20 M!de' Songs This and the following song were said to form part of a ceremony which is held soon after the death of a member of the MXde'wIwIn (Grand Me'f^-^'nry \ m [^ij3.j^ Analysis. — This song contams only the tones of the tonic triad and sixth, the melody moving freely along harmonic lines. It has been noted that in some songs containing these tones the sixth is used as a passing tone, the melody being based on the tonic triad, while in other instances the sequence of the tones is such as to produce the minor triad with minor seventh as an integral part of the melodic framework. This song belongs to the latter group, the sixth being accented in the fourth measure and appearing again in the sixth measure, after which it is used only as a passing tone. (See Nos. 133, 147, 151,152, 153, 154.) The song is major in tonality, yet 12 of the intervals (55 per cent) are intervals of a minor third. (See Nos. 140, 141, 151, 161.) The song contains no rhythmic unit. The division of the first count of the third measure is also noted in Nba 152, 153, 157, 159, 161. Three renditions of the song were recorded, which are identical in every respect. In this, as in most of the moccasin game songs, the metric unit of the drum is faster than that of the voice. Dance Songs The woman's dance is a feature of every gathering of the Minnesota Chippewa, but has never been introduced on the Lac du Flambeau Reservation in Wisconsin. This dance is said to have been acquired from the Sioux (see pp. 45, 46; also Bulletin 45, p. 192). The dancers face the drum, moving clockwise, in a circle. In plate 45 are shown the Waba'cXng Chippewa in a woman's dance. A shade of branches has been erected over the drummers, but the women wear their plaid woolen shawls. In this instance the men and women are dancing by themselves. A more common arrangement, when gifts are being freely exchanged, is for a man and a woman to dance together, the men and women alternating around the circle. densmobb] CHIPPEWA MUSIC — ^tl 285 No. 164. Woman's Dance Song: Sung by A'jidb'guIg VoicB J =108 Dhum J = 108 (Dram-rhythm similar to No. 19 ) + (Catalogue No. 295) ^if ^ ■ t^m^ ^^ ME s£f*S ^^ n in J Analysis, — This song is strongly rhythmic in character but contains no rhythmic imit. It comprises the tones of the second five-toned scale and is definitely minor in tonality. The accented tones in the last seven measures correspond to the descending intervals of the tonic chord. The f aidty intonation in the first measure was corrected in the second measiire. (See Nos. 54, 129, 133, 146.) No. 165. ''He Killed a Man" Sung by A^'jiDB^'auia (Catalogue No. 294) Voice J =168 Brum J = 100 (Dmm-rhythm similar to No. 2 ) I * — \ I ^ ir ir % ^ ^^ gil te rrrn" -5=^ \ s. m—fL f^m Ca - mau-ga-nic a gi nic - i - wed i - 5* rtii T f i r r rf i i^ ^gg wk gi • nIc - 1 - wed WORDS camau^ganlc a soldier ginl'ciwed' killed a man in war Analysis, — This very old song was sung by the women who went to meet a war party on its return to the village (see p. 118). The same 286 BUBEAU OF AMERICAN ETHNOLOGY [BI7IiL.6lt song was recorded at White Earth (see Bulletin 45. p. 143), the two records being identical except that the former record includes the shrill falsetto cry given by the women. The structure of the melody is interesting. In the first six measures the rhythmic unit is repeated with regularity and the first note of that unit (which is also the first note of the measure) follows the descending intervals of the fourth five-toned scale. The remainder of the song is harmonic in outline, comprising first the chord on the sixth and then the third D sharp- F sharp, suggesting the chord of B major. Attention is directed to the interesting rhythm of the part of the song containing the words. No. 166. "I Carry It Away" (Catalogue No. 316) Sungby Geowe^djibi^tuS ('sirriNo near it") Voice J- 100 Drum Jz=100 ( Drum-rhythm similar to No. 2) ^} f L^r t |f ^ ^^ Nin-da-ma-dji-don m>) u* ^ 'Js ft ^ Ht^-rrjii'irra WORDS nin'dama^djidon'' I carry it away Analysis. — This is a song of the ca'w(ino'ga (southern dance) (see p. 129). The song was recorded on th6 White Earth Reservation also and the records were found to be identical. The rhythmic unit is not continuous but gives character to the song. The melody tones are those of the fourth five-toned scale and the effect of the song is that usually associated with this scale. Faulty intonation on the in- terval of the second is noted also in Nos. 54, 55, 61, 64. 100, 145, 166. DENS mobs] CHIPPEWA MUSIC — ^n 287 No. 167. "The Entire World" Sung by Ki^'miwOn Voice J = 100 Dhum J=rlOO ( Drum-rhythm similar to No. 19 ) ! (Catalogue No. 297) m^^ ■^ m 4 g J . . - d d . ^ g ^V Cy C/W T E^ F-aHIJ-^^^t^ ^ ei-- ¥j ■ nS - go-kwag a - ki ni-ma- wi - mi - gun s^ ^ ^ — m \j\m i^^f i j jjj J II WORDS g'nggokwag' the entire aid' world nima'wimigun'' weeps for me Analysis. — This was said to be the music of a dance much older than the ca'wtlno'ga. The three renditions of the song recorded are identical except that the tone before the words is prolonged in the first rendition. The song is characterized by a vigorous rhythm, with a distinct unit which occurs three times in entirety and parts of which are found throughout the song. The melody is minor in tonality and contains only the tones of the tonic triad and sixth. 288 BUREAU OF AMERICAN ETHNOLOGY [Bni«L.63 Combined Analyses of Dream, MIde^ Love, Moccasin Game, and Dance Sonos — ^Waba'cIng Village, Red Lake Reservation Melodic Analysis TONALITY Dream songs Hide' songs Love songs Moccasin game songs Dance songs Total Percent. Hi^or 25 1 3 1 3 3 2 2 34 6 85 Minor IS Total 26 3 4 3 4 40 BEGINNINGS OF SONGS Dream songs MIde' songs Love songs Moccasm game songs Dance songs Total Per cent. On thirt«ftpth 1 5 11 4 3 2 1 5 20 6 3 3 2 t.S On sixth • t • li.S On twelfth 1 2 4 2 2 SO On fifth , IS On tenth ?.S On third 1 1 7.S On tonic 1 t 1 6 1 Total 26 3 4 3 4 40 ENDINGS OF SONGS Dream songs MIde' songs Love songs MoccavM cj r I [ r jPfTCT^r^ ^i^ Ha ni wa ya hi ne ha ha ni wa ya hi ne ha ^^m s ii iiyf-r i r i^ ■^ -^ s -[g rfg dja ya gi-ga-ma - dja gl-ga-ma -dja mm t- n r' i r Q-i LT I gl - ga-ma - dja ya gl- ga-ma - dja ya gl- ga-ma - ^rrTf t tf f i f 1^ -: ^^^^ dja a o - de - nafig g! - dl-no - se sa gl-dl-no - ^ -^ I ^ ? 3c=p: ^ e se ya gl - dl-no - se gl - dl - no - se ^^s ^ 7u * — • ^ ■K4-I- — U -\-H-^=- -^sL 1 tci - gam - i - we - na Ic - kwe - a - cin - ge Ae en - dl - ji - dji - tci- 9^ £ r I r I ti_r r I r gwa - kwen - dji - ge - yan e Ae bl - ji - we - kfi - wi - a ^r^^u r irQ x-^'\r r/- i f f |f fen bl - ji - we -ktl-wi-a na- ma - ha - na - na - ga - na na - ma - f ^, i,f r:i jt r [ f tfj-f^^ ^^^=^^ i ha-na-na-ga- nakwa-kwac-kwan-da-mo kwa-kwac-kwan-da-mo 8<6p DBNSMOUD] CHIPPEWA MUSIC — ^n 303 ^ WORDS ag(/djln it is hanging ekwateg^ in the edge of the sunshine koko First, second, fourth, and fifth tones j First, second, fifth, and sixth tones Total i 15 Serial Nos. of songs 51,52 177 173 168, 172, 176 169 175 179 174 170 53 178, 180 ACCIDENTALS Songs containing no accidentals . Total Number > of songs ; Serial Nos. of songs 15 51, 52, 53, 168, 160, 170, 172, 173, 174, 175, 176,177,178,179,180 15 STRUCTURE Number of songs Serial Nos. of songs Harmonic Purely melodic Melodic with harmonic framework Total 172, 176, 177 51, 52, 53, 170, 173, 174, 175, 178, 179, 180 168,169 FIRST PROGRESSION I Downward. Upward.... Total Number I of songs I Serial Nos. of songs 10 5 15 51, 52, 170, 172, 173, 174, 176, 177, 179, 180 53, 168, 169, 175, 178 308 BUREAU OF AMEBICAN ETHNOLOGY [BULL. 53 Rhythmic Analysis PART OF MEASURE ON WHICH SONG BEGINS On accented part. Number of songs 11 Serial Nos. of songs On unaccented part 51, 63, IfiS, 172, 173, 174, 175, 176, 177, ]78, 180 52, 169, 170, 179 Total. 15 RHYTHM OF FIRST MEASURE Songs b^inning in 2-4 time. Songsabeginning in 3-4 time. Total. Number of songs Serial Nos. of songs 1 1 51, 52, 168, 172, 173, 174, 175, 176, 178, 179, 180 4 53, 169, 170, 177 CHANGE OF TIME Songs containing change of time. Songs containing no change of time. Total Number of songs 14 Serial Nos. of songs 51,52,53,168,169, 170,172, 173, 174, 175, 177,178,179,180 176 15 RHYTHMIC UNIT Songs containing rhythmic unit. . .*. Songs containing no rhythmic unit. Total Number of songs Serial Nos. of songs 168, 172, 173, 174, 175, 180 51, 52, 53, 169, 170, 176, 177, 178, 179 COMPARISON OF METRIC UNIT OF VOICE AND DRUM Number I of songs Metric unit of voice and drum the same. Metric unit of voice and drum different . Recorded without drum Total. Serial Nos. of songs 51, 176 168, 169, 172, 173 53, 169, 1.70, 174, 175, 177, 178, 179, 180 RHYTHMIC UNITS OF CHIPPEWA SONGS The purpose of the following section is to place the rhythmic units of the several classes of songs in convenient form for observation. The analyses on pages 51-58 note some melodic and rhythmic resem- blances between song-groups which have an underlying idea in com- mon. The study of resemblances can be carried still further by com- paring the rhythmic units of songs of related groups. Rhythmic Units of M!de' Songs ^ No. 1 (Bull. 45) ^'hiiriT (Catalogue No. 189) S: WTTlfM 19- ^ i No. 2 (Bull. 45) ^ (Catalogue No. 238) 1 ^ ate No. 3 (Bull. 45) r^^: — (Catalogue No. 239) No, 6 (Bull. 45) T~ p f -^ (Catalogue No. 240) No. 6 (Bull. 45) (Catalogue No. 241) 1 No. 7 (Bull. 45) ^m. ^ ^£^^ (Catalogue No. 54) 1 See pp. 84, 51. 309 310 BUREAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 8 (Bull. 45) (Catalogue No. 56) g^-f-f .fjffl^l r r r I r • I r • No. 10 (BuU. 45) ^m ^ ^s. No. 11 (Bull. 45) (Catalogue No. 237) (Catalogue No. 61) ^ rtrr i frifr No. 12 (Bull. 45) (Catalo^e No. 62) ^m ^t g e 3 No. 18 (Bull. 45) ^^ ^^^ (Catalogue No. 63) 1 No. 14 (Bull. 45) -1^- -?5>- ^^ m 3 (Catalogue No. 65) 1 HK ^ rr ii^ i iS> f9- No. 15 (Bull. 45) (Catalogue No. 66) ^^ ^ -8- 1 ^E=P=|E 8 No. 17 (Bull. 45) r Catalogue No. 123) I Q. >> " T ^ • [— fg f 1— • f • 1 -fg • 1 No. 39 (Bull. 45) ^ i t^ fei (Catalogue No. 30) 5^ I i5>-» -«S»-* I ^ CHIPPEWA MUSIC — n 311 No. 61 (Ball. 46) (Catal<«ne No. 69) No. «2 [Bull. 4S) {Catalogue No. TO) ^g:*^^#- No. 68 (Bull. 45) (Cktalogne No. 254) No. 64 (Bull. 45) (CaUlogne Na 67) No. 65 (Ball. 45) (Catalofme Mo. 56) No. 68 (BuU. 45) (Catalc«ue No. 69) No. 69 (Bull. 45) (Catalogue No. 60) No. 70 (Bull. 45) (Catalogue No. 64) 312 BUREAU OF AMERICAN ETHNOLOGY [BUiJ.. 53 No. 71 (Bull. 45) (Gafalogoe No. T6) ^ IeI No. 76 (Bull. 45) (Catalogue No. 53) No. 77 (Bull. 45) (Catalogue No. 78) Uxij^pU.lA. No. 78 (Bull. 45) ^^i No. 79 (Bull. 45) (Catalogue No. 79) 1 (Catalogue No. 71) No. 80 (Bull. 45) f^ ^^ ^ 2 No. 81 (BulL 45) (Catalogue No. 14) (Catalogue No. 191) \n4^ r ^^ 1 11^^' No. 82 (Bull. 45) (Catalogue No. 192) No. 83 (Bull. 45) (Catalogue No. 193) ^^1^ ^ i^ •y»~F ?cp: XJ. I»NBiIOBB] CHIPPEWA MUSIC — n No. 84 (Bull. 45) 313 (Catalogue No. 194) No. 86 (Bull. 45) (Catalogue No. 195) r ^S h^^ No. 86 (Bull. 45) (Catalogue No. 197) • ^ t j m m \ No. 87 (Bull. 45) (Catalogue No. 199) t^^ fe-" r I cr pr ft -^ No. 88 (BuU. 45) (Catalogue No. 200) TT-^-^ \ 1 m^ i ^cj i r;^ > No. 89 (Bull. 45) ^.Hga^a-lyc l LLE No. 90 (Bull. 45) ^ ^h^-^ ^' No. 91 (Bull. 45) m^iruj. ^ (Catalogue No. 236) (Catalogue No. 248) (Catalogue No. 253) No. 92 (Bull. 45) (Catalogue No. 255) 314 BUBEAU OF AMERICAN ETHNOLOGY [BULL. S3 No. 98 (BuU. 46) (Oatalogne No. 266) ^TTl ^ ^^ ^ No. 154 (Bull. 53) (Catalogue No. 306) 'y.Stiir rrrur m No. 155 (BuU. 53) (Catalogue No. 304) I r..t»tf|f t | f i f |f ^^ No. 174 (Bull. 53) (Catalogue No. 283) No. 175 (Bull. 53) (Catalogue No. 284) aa, ^T r \ ^fF^!m Rhythmic Units of Dbeah Songs' ^3^ m No. 109 (Bull. 45) r V I f f =F^ (Catalogue No. 245) 1 ■# F- i No. 110 (Bull. 45) . \f-mmmm.mm |f7 • r^». ' ti 1 _r 1 1 *-}.. vf^ r_i3 _H 1 :^ T"!,/ ta^^ f ^ (Catalogue No. 246) No. Ill (Bull. 45) -^hA ^ 1 See pp. 37, 52. (Catalogue No. 213) CHIPPEWA MUSIC II 315 No. 112 (Bull. 45) (Oatalotnie No. 206) No. 121 (Bull. 45) (Catalogue No. 261) No. 84 (Bnll. 63) (Catalogue No. i N»^ ^ ' wi ^ I £££;7TfBT^ No. 95 (Bull. 53) (Catalogue M No. »7 (BuU. 53) (Catalogue No. 433) 316 BUREAU OF AMERICAN ETHXOLOGr [BTLL. 53 >'o. 98 (BuH. 53 1 (Oatalogiie No. 434) No. 99 (Bull. 53) riy i f f No. 101 (Bull. 53) r 1^*1 ^ m ^^f^ (Oatalofnie No. 399) (Gatalogae No. 422) No. 102 (Bull. 53) (Catalogue No. 395) r... L zlr TT,T- •P- P„i^T TTT^ , ^\W ^ ^ ~JW '-' ' No. 108 (BuU. 53) (Catalogue No. 396) No. 104 (Bull. 53) (Catalogue No. 397) No. 128 (Bull. 53) (1) (Catalogue No. 289) (2) ^nP i Hir^ m No. 181 (Bull. 53) (Catalogue No. 324) DBN8MOBB] CHIPPEWA MUSIC ^n 317 No. 184 (Bull. 53) m (Catalogue No. 320) No. 185 (Bull. 53) (Catalogue No. 323) No. 140 (Bull. 53) #-#- P^ i£^^ (Catalogue No. 310) 3 m 4. No. 141 (Bull. 53) (Catalogue No. 311) ^ ^ffCtffl^lg ^ No. 142 (Bull. 53; (Catalogue No. 312) L^ ^ ^ jd i f f f=r-^^ -r-j^i-a f f • r.- -^^'-^- m S No. 143 (Bull. 53) (Catalogue No. 313) ^ t X f f--Tf- £ I i I 3: No. 147 (Bull. 53) (Catalogue No. 291) I — 5=. ^^nnr^ b^^ ^^ a f 'E/'ir H V^ 1 No. 163 (Bull. 53) I 1 (Catalogue No. 322) 818 BUREAU OF AMEBIC AN ETHNOLOGY [BULL. 53 Rhythmic Units op War Songs* No. 126 (Bull. 45) I - -#-- 1 ^ (Catalogae No. 215) No. 127 (BuU. 45) r?7 ^^ 1 ^3 (Catalogue No. 230) No. 128 (Bull. 45) ■f—t—^ 1—4- ^^ i^ 4= (Catalogue No. 271) No. 129 (Bull. 45) M'^} J ji' l (Catalogue No. 276) No. 180 (BuU. 45) r ^fig & (Catalogue No. 277) No. 181 (Bull. 45) No. 132 (Bull. 45) 1 JLf,\ c%'^ r T*^ ^ L ^ ^ \^m r 4- "^ (Catalogue No. 114) (Catalogue No. 116) No. 155 (Bull. 45) 1 See pp. 40, 53. (Catalogue No. 140) llBNSMOBB] CHIPPEWA MUSIC — ^n No. 161 (BuU. 45) n^ 1 319 (Catalogue No. 167) No. 1 (Bull. 53) (Catalogue No. 392) 'y, MtJ-f r rj ^ ^ No. 2 (Bull. 53) (Catalogue No. 371) 1 ■ ^J^'izn!'.nJ^h. J* No. 8 (Bull. 53) (Catalogue No. 346) 9*1^ iSa r II S!' ^ r a No. 4 (Bull. 53) (Catalogue No. 387) ^ ±4-t M bfe£ m 8 No. 5 (Bull. 53) (Catalogue No. 391) J^'t'^^^tFj'i l i)^ I No. 6 (BuU. 53) (OMalogue No. 384) m 1 J J 1 14J jth^ I J j i j Ui^W . No. 8 (BuU. 53) (Catalogue No. 338) i'"!t'^ fr'-f"'^ ^ 320 BUREAU OF AMERICAN ETHNOLOGY [BULL. 63 No. 11 (Bull. 53) (Catalogue No. 358) No. 12 (Bull. 53) (Catalogue No. 359) ^M ^ f i ffri i iif ihif 1 \ r wr I I No. 18 (Bull. 53) (Catalogue No. 13) ^..,,. mfmr 5^ No. 16 (Bull. 53) (Catalogue No. 360) LB rflLf U I || 2"r" T gg No. 16 (Bull. 53) (Catalogue No. 361) ^ — ^ ■# ^ tj-f i f No. 17 (Bull. 53) (Catalogue No. 362) (1) UyS f ^F tf CJ^ 1 (2) pE m No. 18 (Bull. 53) i fcte (Catalogue No. 343) 1 ^ l^S M ^ TQ n. '^ No. 19 (Bull. 53) (Catalogue No. 333) »^ f !J-,£_£ A^^ 1 ^ ' '^^^^^^^^^^^.j r rf i I No. 20 (Bull. 53) (Catalogue No. 332) inBNBMORB] CHIPPEWA MUSIC — II 321 No. 21 (BuU. 53) (Catalogue No. 370) mh^i ^^ f U-j No. 22 (Bull. 53) (Catalogue No. 372) f i f tlUTT t= No. 28 (Bull. 53) (Catalogue No. 382) No. 24 (Bull. 53) (Catalogue No. 373) 1 4 4'4^ No. 26 (Bull. 53) (Catalogue No. 374) No. 26 (Bull. 53) (Catalogue No. 375) ^ 1 t=t Jt=ji: M eJ 3 No. 27 (Bull. 53) (Catalogue No. 376) 1 J J i J ji 5=5 No. 28 (Bull. 53) (Catalogue Na 369) No. 29 (Bull. 53) (Catalogue No. 341) 67996°— Bull. 53—13 ^21 322 BUREAU OF AMERICAN ETHNOLOGY [BULJj. 68 No. 80 (BuU. 53) (Catalogue No. 329) 1 'i n wfi^ No. 82 (Bull. 53) (Catalogue No. 385) m^ 1ttjiSru \ ,H 1 #— # r t=t ^ No. 88 (Bull. 53) -J ^' f f rr' (Catalogue No. 335) 4- 1-^ No. 34 (Bull. 53) (Catalogue No. 336) c^i^rjE f ♦• ^. J^i^=k EE:* -^-£?-r^ 1 No. 36 (Bull. 53) (Catalogue No. 342) ^ ^ I 4?^ £^=£: =9i e No. 36 (Bull. 53) (Catalogue No. 367) 1 SE -If- ^ t^-^ 1 No. 87 (Bull. 63) (Catalogue No. 389) i-i'O 'lJT \ f : II No. 38 (Bull. 53) (Catalogue No. 366) ^ It -#^ .#- I; £= DBN8MOBB] CHIPPEWA MUSIC ^n 323 No. 89 (BuU. 53) (Catalogue No. 348) m^^^ ^^^^^^^ No. 40 (Bull. 53) (Catalogue No. 365) r"^~ ^^ii i^^^e^y ^ I -i9- No. 42 (Bull. 53) (Catalogue No. 330) No. 44 (Bull. 53) (Catalogue No. 352) i ^ L b 4_g i 1 -<5^ i No. 45 (Bull. 53) (Catalogue No. 390) P^ l.£^ 3^ i?= No. 46 (Bull. 53) (Catalogue No. 354) ^^ #-^-^- ^3 1 No. 47 (Bull. 53) (Catalogue No. 355) (1) r P^iiA & -nt iE t^' ^ t: 1 (2) ^^^i&^ No. 68 (Bull. 53) (Catalogue No. 423) 324 BUBBAU OF AMERICAN ETHNOLOGY [bull. 63 No. 64 (Bull. 53) ^ mJW u- \ ^ m No. 65 (Bull. 53) (Catalogife No. 424) (Catalogue No. 425) No. 66 (Bull. 53) (Catalogue No. 432) No. 80 (Bull. 53) (Catalogue No. 437) nff^ H^^ ^^ ^^^u ^ f=^ No. 81 (Bull. 53) (Catalogue No. 393) f- f f- f- f- flf-f- -^^ No. 88 (Bull. 53) (Catalogue No. 406) -C|^H>A-fA/=£ No. 86 (Bull. 53) (Catalogue No. 415) !=£=£ ft^!^ t-P- No. 86 (BulL 63) (Catalogue No. 419) ^^H S^ ^^-^-^^ ^ i s lH2- No. 88 (Bui 11. 53) ■*)• " "~" -^1 ^ f -/ V4- (Catalogue No. 411) DINSlfORB] CHIPPEWA MUSIC — n 325 No. 89 (Bull. 53) (Catalogae No. 412) M ^t-tj* i f i tj r ' ss No. 90 (Bull. 53) (Catalogue No. 416) ^ f: # ^ ^■- No. 91 (Bull. 53) (Catalogue No. 417) n^fi-T^^^ ^ No. 92 (Bull. 53) (Catalogue No. 418) Rhythmic Units of Love Songs ^ m No. 184 (Bull. 45) (Catalogue No. 99) 1 1 ^ -J'U i' No. 185 (Bull. 45) ^ (Catalogue No. 101) No. 136 (Bull. 45) ^ ^ -a^ (Catalogue No. 104) No. 138 (Bull. 45) (Catalogue No. 107) I 1 See pp. 41, 53. 326 BUREAU OF AMERICAN ETHNOLOOY [bull. 53 No. 189 (Bull. 45) (Catalogue No. 110) No. 140 (Bull. 45) (Catalo^e No. 262) No. 168 (Bull. 45) (Catalogue No. 161) No. 164 (Bull. 45) (Catalogue No. 155) f^M ^^ No. 105 (Bull. 53) (Catalogue No. 400) ^m a: fr-JL -^- ^^=^ I I I itt^f-JfrfF No. 106 (Bull. 53) (Catalogue No. 401) ^S^x^ ^ 2^ ifc No. 108 (Bull. 53) (Catalogue No. 431) ^2- -^ ^^ J^. :9Si^ ^ £ 2ie: o; 13 No. 109 (Bull. 53) (Catalogue No. 442) ^S 3: # r-i9 -(S»- :p=-^ ^ A. DBN'SMORRI CHIPPEWA MUSIC — n 327 ^m !^^ No. 110 (Bull. 53) E (Catalogue No. 443) 1 f=^ ^S No. 112 (Bull. 53) 5 (Catalogue No. 445) n -Oh m (1) No. 167 (Bull. 53) (2) ^^^^^B 1 (Catalogue No. 300) (3) ji( — fatef: es -a»- No. 159 (Bull. 53) (Catalogue No. 302) S i 1 2: 4= — i# at No. 160 (Bull. 53) (Catalogue No. 303) m E S m tiB4: # — # -<©'• ^ •'^^z::^ -J- '-4r_^ Rhythmic Units op Moccasin Game Songs No. 142 (Bull. 45) P^ X (Catalogue No. 112) No. 172 (Bull. 45) 3 i toi-C>=te i ^5 3 1 (Catalogue No. 171) No. 174 (Bull. 45) Oi't ^" ^ 5 r^ 4 ^! ^^ — Kj JL ^ 1 — : ^* ^ • 4 — • (Catalogue No. 150) 1 See pp. 44, 54. 328 BUBEAU OF AMERICAN ETHNOLOGY [BULL. 53 No. 12S (Bull. 53) (Gatalogue No. 410) No. 126 (Bull. 53) -■& ^'u l ^LbyJ f ^ ^ (Catalofi^aeNo. 427) No. 162 (Bull. 53) ( Catalogue No. 293) ih.gf r i f V \ f f ^^ m Rhythmic Units of Woman's Dance Songs ^ No. 177 (Bull. 46) (Catalogue No. 132) No. 180 (Bull. 45) (Catalogue No. 141) No. 181 (Bull. 45) (Catalogue No. 153) No. 184 (Bull. 45) (Catalogue No. 177) ^9 %^ tTir- > See pp. 45, 55. OKfaMOBnJ CHIPPEWA MUSIC — n 329 Rhtthhic Units of Beooino Dance Songs' No. 115 (Bull. 53) :9i f f f *=^ ^*- (Catalogue No. 438) No. lie (Bull. 53) (Catalogue No. 439) ill 1 I I ^ ^'« ^^1 tej 1 |XJ 1 1 UtJ-j No. 118 (Bull. 53) ^\\4. ^JLT] (Catalogue No. 441) Rhythmic Units of Pipe Dance Songs ^ No. 171 (Bull. 53) (Catalogue No. 408) r m^ A u r \ vjT^ No. 178 (Bull. 53) (Catalogue No. 282) 1 ••- -f^ ^t -(^ ^«- R:^|?bM 1 ^-l — ^-^ ^^t>U ■ Rhythmic Units of Songs Connected with Gifts' No. 162 (Bull. 45) (Catalogue No. 92) No. 168 (Bull. 45) (Catalogue No. 93) 9 ^>fui ±^ fe * See pp. 47, 56. « See pp. 48, 56. » See pp. 49, 57. 330 BUREAU OF AMEBICAN ETHKOLOOT [BDtil.. 63 No. 189 (Ball. 46) r^ ^S B f .f f .r' (Oatdogae No. 168) No. 128 (Bull. 53) m!^d=^ :w=T (Catalogue No. 435) 1 =g=T'"~f 3 E No. 124 (Bull. 58) (Catalogue No. 436) F l,h3 J^ t - r r r -t= — 3=— tr— f . r J^ r rf— -a- .^ >>i -8- 8 I Rhythmic^ Units of Soncis for the Entertainment of Children * tZ^^E^ No. 197 (Bull. 45) (Catalogue No. 272) ip^EifeEE^^^^ ^ 2. No. 127 (BuU. 53) (Catalogue No. 447) rfr-^ 1=1 m No. 180 (Bull. 53) (Catalogue No. 449) isa^^^ 1 Rhythmic Units of Unclassified Songs ^ No. 146 (Bull. 45) (Catalogue No. ia5) p m > See i>p. 4y, 57. »rtee i>. 50. DBXHMOKKl CHIPPEWA MUSIC II 331 No. 147 (Bull. 45) r 1 5^^ ^d-EEt (Catalogue No. 109) No. 192 (Bull. 45) Sr=t ^ 1 (Catalogue No. 160) No. 194 (Bull. 45) S^ £ (Catalogue No. 163) 1.' ts r _r- No. 196 (Bull. 45) t=£M--_=rr. (Catalogue No. 164) No. 67 (Bull. 53) (Catalogue No. 428) No. 68 (Bull. 53) r" M 3 (Catalogue No. 429) No. 119 (Bull. 53) ^: tj -^-^ t^ (Catalogue No. 404) f S T T^ ^I^^tfe No. 120 (Bull. 53) (Catalogue No. 405) i izfe2: .f- f: ■# — ^ -I- :t=zz-- 332 BUBEAU OF AMBKICAN ETHNOLOGY [mh^ M No. 121 (Bull. S3) (OMjOagne No. 413) m No. 1«8 (Bull. 5.1) {Catalogue No. 414) ^ fflf ' 1 No. 165 (Bull. 53) (CaUloKueNa 2H) No. 186 (Bull. 53) (Catalf^ue No. 316) No. 167 (Bull. 53) (Catalogue No. 297) No. 168 (Bull. 53) (Catalogue No. 268) AUTHORITIES CITED Baibd, S. F., Bbeweb, T. M., and Rn)owAT, R. North American birds. Boston, 1874. Baker, 'tHEODOR. t^er die Musik der nordamerikanischen Wilden . Leipzig, 1882. Baraga, Frederic. Dictionary of the Otchipwe language, pt. n. Montreal, 1880. Barrett, S. A. Dream dance of the Chippewa and Menominee Indians of northern Wisconsin; in Bull. Pub. Mus. Milwaukee, vol. i, art. 4. Milwaukee, 1911. Boas, Franz. Chinook songs; in Jour. Amer. Folk-Lore, vol. i. Boston and New York, 1888. Brewer, T. M. See Baird, Brewer, and Ridoway. *Brower, J. v., AND Bushnell, D. I., jr. Mille Lac. St. Paul, 1900. Bushnell, D. I., jr. See Brower and Bushnell. Church, Georob Earl. Aborigines of South America. London, 1912. Cringan, a. T. Description of Iroquois music; in Archaeological Report, App. Rep. Min. Education Ontario. Toronto, 1898. CuLiN, Stewart. Indian games; in 24th Rep. Bur. Amer. Ethn. Washington, 1907. Day, Charles R. Chapter on musical instruments, in Mockler-Ferryman, Up the Niger. London, 1892. Dorset, J. Owen. Siouan sociology; in 15th Rep. Bur. Amer. Ethn. Washing- ton, 1897. Ellis, Alex. J. See Helmholtz. Fillmore, John Comfort. Primitive scales and rhythms; in Mem. Int. Cong. Anthr. Chicago, 1894. See Fletcher. Fletcher, Alice C, aided by Francis La Flesche. A study of Omaha Indian music. With a report on the structural peculiarities of the music by John Comfort Fillmore, A. M. Arch, and Ethn. Papers Peabody Mus., Har- vard Univ., vol. I, No. 5. Cambridge, 1893. FoLWELL, W. W. Minnesota, the North Star State. Boston, 1908. Gardiner, William. The music of nature. Boston, 1838. Oilman, Benjamin Ives. 5opi songs. Boston, 1908. Gram, William. See Stone. Handbook of American Indians north of Mexico. Bull. 30, pts. 1 and 2, Bur. Amer. Ethn. Washington, 1907 (pt. 1); 1910 (pt. 2). Helmholtz, H. L. F. The sensations of tone (translated by Alex. J. Ellis). London, 1885. Hewitt, J. N. B. Orenda and a definition of religion; in Amer. Anthr., n. s., vol. IV, No. 1, 1902. Hoffman, Walter James, M. D. The Menomini Indians; in 14th Rep. Bur. Amer. Ethn. Washington, 1896. . The Mide^wiwin or "Grand Medicine Society" of the Ojibwa; in 7th Rep. Bur. Amer. Ethn. Washington, 1891. Hornbostel, Erich M. von. tJber die Musik der Kubu; aus dem Phonogramm- archiv der psychologischen Instituts der Universitat Berlin. Frankfurt am Main, 1908. Hrdli^ka, AleS. Physiological and medical observations among the Indians of southwestern United States and northern Mexico. Bull. 34, Bur. Amer. Ethn. Washington, 1908. 333 334 AUTHORITIES CITED Indian tbsatibs.. A compilation of all the treaties between the United States and the Indian tribes now in force as laws. Washington, 1873. Indian treaties and laws and beoulations relating to Indian affairs, compiled and published under orders of the Department of War. Washington, 1826. Jackson, W. H. Descriptive catalogue of the photographs of the United States Geological Survey of the Territories for the years 1869 to 1873, inclusive. Wash- ington, 1874. Ebatino, Wm. H. Narrative of an expedition to the source of St. Peter's River, vols. i-ii. Philadelphia, 1824. Lacombe, Albert. Dictionnaire de la langue des Oris. Montreal, 1874. La Flesche, Francis. See Fletcher. Marsden, William. The history of Sumatra. Ix)ndon, 1811. Mockler-Ferryman. See Day. Mters, Charles S., M. A., M. D. In Reps. Camb. Anthr. Exped. Torres Straits, vol. IV. Cambridge, 1912. . The ethnological study of music; in Anthropological essays presented to Edward Burnett Tylor, etc. Oxford, 1907. Ramsey, Gov. Alexander; in U. S. Ind. Affs. Rep. for 1850. Richet, Ch. (editor). Dictionnaire de physiologic. Paris, 1895-1909. rRiDGWAY, R. See Baird, Brewer, and Ridgway. RiGos, S. R. Grammar and dictionary of the Dakota language; in Smithson. Gontrs., vol. IV. Washington, 1852. RoYCE, C. C. Indian land cessions; in 18th Rep. Bur. Amer. Ethn., pt. 2. Washing- ton, 1899. Schoolcraft, Henry R. Oneo^ta, or characteristics of the Red Race of America. New York, 1845. Speck, F. G. Ceremonial songs of the Creek and Yuchi Indians. Anthr. Pub. Mus. Univ. Penn., vol. i. No. 2, 1911. Stone, Witmer, and Gram, William. American animals. New York, 1902. Torrance, G. W. Music of the Australian aborigines; in Jour. Anthr. Inst. Great Britain and Ireland. London, 1887. Warren, William W. History of the Ojibways. St. Paul, 1885. We ad, Charles Kasson. Contribution to the history of musical scales; in Rep. U. S. Nat. Mus. 1900. Washington, 1902. Zollner, Heinrich. Einiges tiber sudanesische Musik; in Musikalisches Wochen- blatt. Leipzig, 1885. INDEX [Note.— -In instances in which only a few songs of a certain kind are foimd in Bulletin 45, or in which those are of special importance, the numbers of such songs are given below, each preceded by an (*). For a list of the songs contained in this volume, 333-334.1 Page Accents, character of 15 AcaDENTALS— containing sixth lowered a semitone, songs Nos. 7, 8, 19, 22, 41, 101, 156, 160. occurrence of 6 tabuiar analysis 23 A'JiDE'oulG, reference to 252 A'KTWfiN'ZI— on the war badge 86 reference to 60 Animals— as features of dreams 199,201,202,203 form of bear assumed by manido' 207 songs connected with 16, 100, 101 songs Nos. *1, 8, 23, *34, *41,*58,*60, ♦66, *67, *68, *69, 82, *85, *88, *89, 94, 95, 96, *96, 97, 98, 99, *109, 114, 115, *119, 123, 124, 139, 146, 179, 180, *196, *197. AsABA, songs of the 7 . ASSINIBOIN— begging dance songs derived from 228 reference to 205 Australian aborigines, songs of 7 AwON'AKOM'iGlcKtfJ', skctch of 252 Bad River Chippewa— on origin of drum 144 reference to 143 Baker, Dr. Theodob, analysis of Indian songs by 5 Banner, use in warfare 91, 107 Baraga, on term manido' 143 Barrett, S. A., cited as an authority 142 Barth and Roger, on rhythm of adult heart 10 Beau, on rhythm of adult heart 10 Beaulieu, Rev. C. H.— acknowledgment to v reference to 42 Bee marten. Sec Kingbird. Begging dance songs— description 47-48 Lac du Flambeau Reservation 228-233 resem))lances to other song groups 56 rhythmic units 329 Beginnings of song.s— begioning and ending on same tone — 01! fifth song No. 112. on tonic, .songs Nos. 53, 125, 127, *132, *142, *149, *150, *170, ♦174, *197. see pages xi-xix, and of the authorities cited, pages Pa«;e Beginnings of songi»— Continued. beginning major, ending minor songs Nos. 67,*189. beginning minor, ending nu^or song No. *192. by parts of measures 28 with upward progressions of an octave. . . songs Nos. 9, 31, 53, 125, *170, *174. Bellabella song, reference to 12 BIca'ganab, story of 131 Bi'jIk£ns— in Drum-presentation Ceremony 166, 168,170,171 reference to 145 BimidjIg'amag Band of Chippewa, reference to 222 BI'nIc6ns', reference to 127 Birds— connected with medicine poles 249-250 imitated in dance 295 songs connected with 16-17 songs Nos. *3, 6, 20, 28, 85, 87, *88, 94, *96, *119, *121, *128, *135, 141, 142, 147,153. BX'TAWAGi'JiGO'KWE. Su Gauthlef. Boas, Franz, cited as authority on Kwakluti music 9 Boy, Chippewa warrior. See Cwi'wizans. Breath, control of 15 Bt'GONEGi'jiG. See Hole-in-the-day. Butterfly, reference to 179 CA'GOBfeNS, reference to 127 Carl, John W.— inciden t related by 130-13 1 references to 83,303 C A' wt)NO 'G A dance, description of 129 See also Southern dance songs. Chippewa and Sioux music, rhythmic cor- respondence of 11 Chippewa language, words incorporated with 76,186,190,230 Chippewa songs— analysis of 340 songa— group analysis 18-33 tabular analysis 34-58 connection between idea and musical form 50 general nature 17 manner of rendition 13-15 335 336 INDEX Chippewa songs— Continaed. Page material 2-13 mostly major in tonality 17 ori^ 15-17 Chifpiwa, use of tenn 50 Chippewa, warfore with Sioux . . 60-«l, 70-71, 72-73 See also WarfBie. Church, Oeoboe Babl, on use of rattle among Pampas Indians 94 Clouds— songs connected with 16 songs Nos. 42, *131, 150. 151. Compass of sono, number of tones comi)os- ing 21 Coon AND Crawfish, story of 305 Costume, woman's, description of 223-224 Crawfish. See Coon and Crawfish. Creek music, work on 9 Cringan, a. T., on rate of movement in melo- dy tmd accompaniment 206 Cross Lake Seotlement, Minn. See Wa- ba'clflg. CuuN, Stewart, on Indian games 207 Dakota, reference to 70 Dancing at Waba'cttg vUlage.... 251-252,284-290 Day, Charles R., on songs of the Asaba — 7 De'kOm, references to 121, 122 Division of a count— in Chippewa songs Nos. *6, 21, *108, *110, 117,119, 131, 152, 153, 157, 159, 161, 163. in Sioux songs Nos. 54, 62. Divorce, Ceremony op— description 162-163 reference to 149 DjBSqwa'k Omioo'kwe, refinance to 122 Dji'sia'sIno'kwe, reference to 184 Dog feast— description of 68,91 feature of Drum-presentation Ceremony. . 150, 173-180 DoRSEY, James Owen, on the Dakota 70 Dream dance. See Drum-presentation Cere- mony. Dreams, connection with songs 16 Dream songs— as war songs 40 close relationships of 34 description 37-39 Lac du Flambeau Reservation 19^ 203,244-247 reference to 10 resemblances to other song groups 52 rhythmic units 314-317 Waba'clfig village, Red Lake Reserva- tion 252-278.288-290 Drum— as an accompaniment 15 for moccasin game songs 44 independent of voice 12-13 in use at Waba'clfig village 252 metric unit " 32, 33 origin 143-144 rhythm 10.29.41 used in war songs 40 See aUo Drum-presentation Ceremony. DRUM-PBBsmiAnoN CxBXMOHT— Page analysis of songs 181-188 Ceremony of DivOToe 162-163 departure of Menominfle 180 dogfeast 150,173-180 drum party 147-148 drums presented in 144-147 "drum religion" 143-144 journey of Menominee 163-166 presmtationofthedrum 168-173 reception of Menominee 164-168 Restoring the Mourners-. 153-162 songs on first day of dancing 150 Ejaculations, characteristic of certain songs 103 English, Mrs. Mary Warren— acknowledgment to v on use of scalps 136 reference to 299 fi'NIWOB'E— account of 184 in Ceremony of Restoring the Mourners.. 153 on origin of gambling 206-207 . on Sioux custom 228 references to 204,205,223,204 Entertainment of children, songs for the— description 49-50 Lac du Flambeau Reservation 241 resemblances to other song groups 57-58 rhythmic imits 330 White Earth Reservation 302-306 Fast, boy's, songs concerning 204-20(( Fasting essential to certain musical compo- sition. 37 Fifth of the scale — absent from songs Nos. 61, 52. occurrence of 5 Fillmore, John Comfort— cited as authority on Omaha music 9 on Bellabella Indian song 12 on construction of Indian songs. 11 First note of song, relation to keynote. . . 18-19 Flag, use in warfare 91, 107 Fletcher, Auce C, cited as authority on Omaha music 9 Flute, description of. 42 Folk-tales, reference to 304-305 Form of song, connection with motive of song 34 Fourth— occurrence of 5 prominence in. songs Nos. 106, 109, 110, 170 Gaga'gins, references to 123, 127 G aga'gIwIgwOn' , reference to 91 Gambling, account of 206-213 Game of silence, description of 303-304 Games of war, children's, description of. . 137-141 Gardiner, Wiluam, on call of plover and beetle • 7 Gauthier, Mrs. Benjamin— on women's dress 223 sketch of 222 Ga'witayac', deathof 80 GEGWE'DnBi'TtfJ, reference to 252 Ge'mtwOnac', reference to 74 Gift of pony, songs concerning 237-239 INDEX 337 Gms, songs connected with— Pa«6 description 49 resembianoes to other song groaps 57 rhythmic units 329-^30 GiLWLLAN, Rev. J. A.— acknowledgment to v on name Meja'Ugi'jlg 83 on term manido' 143 GiLMAN, Benjamin Ives, cited as an author- ity on Hopi music 9 GDrtc'TANo , reference to 222 GoKAT, Frank, as an interpreter 143, 165 Gradation of tone, discussion of 14-15 Gram. See Stone and Gram. Grand MEDicmE songs, See MIde' songs. Gwi' wizlNs, reference to 187 Hand oame, description of. 206,207 Harmonic in structxtrb, applicable to few songs 6 Harmonic tone, approach to by tone above songs Nos. 29, 45, 51, 53, 65, 137, 139, 141. Harmonic upper partial tones, reference to : 4 Head Flier, reference to 165 Helmholtz— cited as an authority 231 on overtones and pentatonic scales 4-5 on scales in European notation 14 Hewitt, J. N. B. , cited as an authority 03 Hoffman, Walter James, M. D., cited as an authority 66,142 Hole-in-the-day— ' references to 61,71.119,127 song composed by 123 Hopi music, work on. 9 Hornbostel, Dr. Erich M. von, on rhythm of voice and drum 13 Horses, use of 186 HrdliCka, Dr. ALEd, acknowledgments to. . 19,37 Interval-formation in various song groups. 7-8 Intervals— average — in Chippewa songs 8 in songs connected with gifts 49 average number of semitones in 26 in downward and upward progression ... 25 in melody-formation, feeling for 7-8 of the fifth song No. 86. of the fourth— in songs concerning animals. .Nos. *3, ♦21,23,28,64,82,85,95,96, 97, 103, 104, 147, 180, ♦196. insongsof motion. .Nos. ^6, ^9, ♦lO, 22, 32, 34, 39, ♦63, ^86, ^91, 105, 106, 109, ♦109,110,111, 121, ^132, 162, 170,174. Intonations, faulty— correction of songs Nos. 54, 129,133,146,164. on interval of a second . .songs Nos. 54, 55, 61,64,100,145,166. Jackson, W. H., cited as an authority 61 Kaga'oiwayan', Chippewa chief, reference to 294 Keating, William H., cited as an authority. 59 67^960— BuU. 6S— 13 22 Key— Pa«e meaning of term a-3 tabular analjrsis 26-27 Keynote, determination of ^-i Ki'miwOn, reference to 252 Ki'miwOnana'kwad, reference to 252 Kingbird, reference to 77-78 KfosE'wiNi'Ni, on moccasin game 211 KX'TaODjA'NiMWBWEGi'jlG, modlcine pole of 249-250 Kwakiutl MUSIC, work on Lac du Flambeau Chippewa— Ceremony of Restoring the Mourners .... 153 on origin of drum 144 references to 142, 143 Lac du Flambeau Reservation, Wis.— description 184 folk-tales 304 songs of— analysis 242-247 begging dance songs 228-233 dream songs 198-215 interval-formation 7-^ love songs 216-228 moccasin game songs 239-241 song for entertainment of children ... 241 songs concerning gift of pony 237-239 southern dance songs 234-237 war songs 185-198 symbols of songs never sung. 247-250 Seie also Lac du Flambeau Chippewa. La Flesciie, Francis^ cited as an authority on Omaha music 9 Lahousse, reference to.. : 10 La Pointe Agency, Wis., reference to 184 Last note of song, relation to- compass of song 20 keynote 19 Leech Lake Reservation, dog feast on. . 173-180 Little Carp, death of. 113 Little Corn, reference to 113 Little Crow, references to 123, 127 Little Eagle, reference to 91 Little Six , reference to 127 Love songs— accidentals in 6 description 16, 17, 41-43 Lac du Flambeau Reservation 216-228, 244-247 resembltmces to other song groups 53-54 rhythmic units 325-327 Waba'clfig village 280-282,288-290 White Earth Reservation 299-301 words of 2 Ma'djigi'jXg— on Chippewa war charm 77 on training of young warriors 84-86 reference to 60 Mai!}'gans— on herb bi'jikiwtkck'. 63-64,65 reference to 60 MANDA'MlNfis, reference to 113 Manido'— ca'wilno'ga taught by 129 connection with origin of drum 144 explanation of term 143 338 INDEX Manido'— Continaed . gambUng taught by 207 in coniiectkm with Dnim-prasentation Ceremony 16ft in form of thundffl'birds 196 MI'nItowIc'Band of Chippewa, refarence to. 222 Maplb sugar, reference to 231-232 Marsdek, William, on Sumatran music — 7 Meanimoless syllables, uae of 13 Measure-lengths, determined by accents. . 15 Mec' kawig a'b au— on Drum-presentation Ceremony 146 references to 148,173,179,184 Medicine— manido' animal as 143 principal kinds 63-67 songs connected with 15,35 songs Nos. 6, 21, 22, 23, 24, 25, 26, 27, 28, 32,36,141,142,143. use in warfare 91, 98,99, 102-103, 107, 112 Medicine-men, treatment of sick by 263-264 Medicine poles, description of 247-250 Me'dweVa'sOS— drum presented by 146 medicine poles connected with 249 Mee, Mrs. Charles, acknowledgment to. . . 300 Meja'Kigi'jIg— personal reminiscences of 83-84 reference to ' 60 Melodic resemblances between song groups 50-58 Memen'gwa, reference to 179 Menominee, references to 142, 143 See al8o Drum-presentation (^eremony . Metric unit— in songs of controlled excitement 12 songs Nos. 30, 51, 52, 103, 161. of drum, tabular analysis 33 of voice, tabular analysis 30-31,33 MIde'— description 142 manido' connected with 143 MIde' SONGS— description 16,34-36 ejaculations in 103 meaningless syllables: 13 reference to 10 reference to water. 17 resemblances to other song groups 51-52 rests in 15 rhythmic units 309-314 sadness and sickness elements in 17 use of rattle in 15 Waba'cffig village 278-280, 288-290 White Earth Reservation 297-299 words of 2 MIde'wigi'jIg, reference to 185 MIde'wIwIn— ceremonies 184 conditions at Waba'clilg 251 status of 34 Mi'oIsIns', reference to 91 Minor third— average interval in Chippewa songs 8 descending, in moccasin game songs 44 frequency of 6-7 in dream songs 39 in love songs 43 Minob thibo— Continued. prominence in songs of major tonality. . . songi Nos. 140, 141, 161, 161, 163. MofOB THDU> AND fouBTH, only toiui in songsNos. 11,*167, 171. Minor- triad and minor seventh, in songs Nos. 133, 147, 151, 152, 158, 154, 163. Mississippi Band of Chippewa, references to.. 89,91 Moccasin game, description of 207, 210-213 Moccasin game songs— description 17,44-46 Lac du Flambeau Reservation 239-241 proportion minor in tonality 17 resemblances to other song groui>s 64-55 rhythmlcunits 327-328 Waba'cHkg village 283-284,288-290 White Earth Reservation 299 Mo'KADJTWfiNS', reference to 73 Moonet, James, acknowledgment to 37 Motion, characteristic of certain songs 100 Motive op song, connection with form of song 34 Murray Island, songs of 6,20 Mters, Dr. C. S.— on rhythm of voice and drum 13 on songs of Murray IslMiders 5,20 cm words of primitive songs 2 Na'ganac', references to 165, 167 Name'bInes', death of 113 Na'Ogade', Winnebago chief, reference to. . . 294 Narcotic stimulants, influence on musical composition 37 Na'waji'bigo'kwe— on certain medicinal herb 65-66 on Chipi)ewa belief in spirits 143 on origin of ca'wftno'ga 129 reference to 60 Niski'gwOn— on incident of warpath 112 references to 60, 78-79 No'DlN, reference to 75 Octave— complete except seventh and fourth, songs so classified 6-6 diatonic, occurrence of 5 Odja'ndiwewe'quIgons'. See White Feather. OdjIb'we— account of 59-60,62,112, 121, 123 incidents of warpath narrated by 116, 124 on Battle of Shakopee 79-so on children's games of war 137, 139 on making of peace 126, 127 on war customs 98,108,110,118 songs in honor of 121, 122 war songs of 7-8 OgIm a'wOdjiwjSb', reference to 109 Ojibway, derivation of name 59 Oldys, Henry, on the kingbird 77-78 Omaha music, work on 9 OmIskwa'wegi'jJgo'kwe, reference to 110 Overtones, meaning of term 4 Peace pact, songs of the 126-130 Periods, song in four songs Nos. 1, 8,12,13,30,39,40,81,105. INDEX 339 Pace PHONOORAPmc RECORDING, accuracy in 8 Phrases, order of changed in repetition of flongs songs Nos. 90.105. Pipe - in connection with peace pact 127,128 in "dnim religion" 143 in songs Nos. *U. 1 1 . *20, 4h, 50. 1 71 . 1 72. 1 7:). use by war leader W use in Dnim-preoentation C'eremony . . . 14(i, 147,l«>,ir>8-109 Pipe dakce, description of 293-294 Pipe dance songs— description 48 resemblances to other song groups 56 rhythmic units 329 White Earth Ue8er>ation 293-296 Plate game, description of 206,207 Prairie du Chien, Treaty of 01 Primitive music— interval of minor third in 7 rhythms of 13 Progressions— downward and upward 24-25 upward — none in song No. 6. of an octave, in songs Nos. 9, 31, 53, 125,*170,*174. one in song No. *109. two in songs Nos. *6, *38, 172. Bamset, Gov. Alexander, cited as an authority 59 Rattle— as an accompaniment 15 reference to. T 34 use on warpath 94 Red Lake Reservation, stories from 304 Restoring the Mourners, description of ceremony 149,153-162 Rests, occurrence of. 15 songs Nos. *3, *9, *78, *83, 86, ♦129, *137, *148, *152, *164. 171. Rhtthm— of drum 10,29,41 n 17, 40-41 expressing derision songs Nos. 14, 38. Lac du Flambeau Reservatton. . 185-198,244-247 reference to 10 resemblances to other song groups 53 rhythmic units 318-325 songs concerning women 130-134 songs of the warpath 94-117 songs on return of victorious war party. 118-126 White Earth Reservatton, analysis of. . 134-137 words of 2 W Asi'KWADE', Chippewa chief, reference to . . 204 Water, songs connected with 16,17 songs Nos. 9, *27, ♦28, ^29, '•SO, •31, '•32, ♦33, 43, ^54, 101. Wavering tone, use of 13 Wbad, Charles Kasson— acknowledgment to 19 work by cited 42 Weasel, reference to 63 White Earth Reservation— analysis of songs 306^308 love songs 299-301 MIde' songs 297-299 miscellaneous songs 291-293 moccasin game song 299 pipe dance songs 293-296 songs for entertainment of children 302-305 INDEX 341 Whitb Featbxr— Page in Oeremony of Restoring the Mourners. . 164- 155,157 in Drum-presentation Ceremony 165-166 WiLLFOWKB songs Nos. 83, 114. Wind, songs connected with the 16 songs Nos. 19, ^112, *113, 149. Wis'KbfO— drum presented to 145 in Drum-presentatioB Ceremony 166, 167, 168, 170, 171 Menominee received by 165-168 on "drum religion" 143 Woman's dance, descriptkm 38,284 Woman's dance sonos— description 45-46 resemblances to other aong groups 55 rhythmic units 328 Women— Page members of drum party 147 part in warf^ire 93,110,113,118,128,131 songscomposedorsungby. .songs Nos. 31, 39,40, 112, 127, 151, 177, 178. style of dress 223-224 war songs concerning 130-134 Words incobforated into Chippewa 76, 186,190,230 Words op sonos changed to ''flt" music. . . 90, 109, 111,113,131,133 YucHi MUSIC, work on. ZOllner, HsiNRicn, as authority on Sudan- ese music Zon'gaxOm'Io, reference to 9 9 12 O i \ I I 4 i I 970.1 U58eb cop. 2 Stanford University Libraries Stanford, California Retam this book on or before date dno. 1^ H DATE DUE W >R 16 B ^ utmnm w w. a. *. V